Oath of the Horatii

Prompt: How does Oath of the Horatii explain its Compositional technique?

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures.The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it (see schematic).The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: In Oath of the Horatii, how is the Compositional technique discussed?

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures.The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it (see schematic).The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: Focus on Oath of the Horatii and explain the Reception.

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: Explain the Reception of this artwork, Oath of the Horatii.

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: How does Oath of the Horatii explain its Reception?

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: In Oath of the Horatii, how is the Reception discussed?

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Schematic showing the convergence of many elements in the composition at the central point

List of paintings by Jacques-Louis David

File:Study for the Oath of the Horatii- Camilla.jpg

Érasistrate découvrant la cause de la Maladie d’Antiochius

David's ''[[The Lictors Bring to Brutus the Bodies of His Sons

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

''Oath of the Horatii'', a second smaller version painted in 1786 by David and his pupil [[Girodet

File:Jacques-Louis David - Oath of the Horatii - Google Art Project.jpg

Category:Paintings by Jacques-Louis David


La maja desnuda

Prompt: Focus on La maja desnuda and explain the abstract.

The Naked Maja or The Nude Maja (Spanish: La maja desnuda [la ˈmaxa ðesˈnuða]) is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida (The Clothed Maja), also in the Prado, and usually hung next to La maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in La maja vestida.The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations (such as in images of prostitutes). With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Explain the abstract of this artwork, La maja desnuda.

The Naked Maja or The Nude Maja (Spanish: La maja desnuda [la ˈmaxa ðesˈnuða]) is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida (The Clothed Maja), also in the Prado, and usually hung next to La maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in La maja vestida.The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations (such as in images of prostitutes). With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: How does La maja desnuda explain its abstract?

The Naked Maja or The Nude Maja (Spanish: La maja desnuda [la ˈmaxa ðesˈnuða]) is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida (The Clothed Maja), also in the Prado, and usually hung next to La maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in La maja vestida.The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations (such as in images of prostitutes). With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: In La maja desnuda, how is the abstract discussed?

The Naked Maja or The Nude Maja (Spanish: La maja desnuda [la ˈmaxa ðesˈnuða]) is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as La maja vestida (The Clothed Maja), also in the Prado, and usually hung next to La maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in La maja vestida.The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations (such as in images of prostitutes). With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Focus on La maja desnuda and explain the Description.

Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the  pictorial space; according to art historian Janis Tomlinson she seems almost to "press boldly against the confines of her frame", making her more brazen in comparison to the comparatively "timid" nude portrait.The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. Further, the accompanying pendant showing a woman in contemporary dress makes it clear that the focus of the work is not of a mythological subject, as in Velázquez's Rokeby Venus, but in fact of a nude Spanish woman. More obviously, while Velázquez painted his Venus revealing only her back, Goya's portrait is a full frontal view. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Explain the Description of this artwork, La maja desnuda.

Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the  pictorial space; according to art historian Janis Tomlinson she seems almost to "press boldly against the confines of her frame", making her more brazen in comparison to the comparatively "timid" nude portrait.The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. Further, the accompanying pendant showing a woman in contemporary dress makes it clear that the focus of the work is not of a mythological subject, as in Velázquez's Rokeby Venus, but in fact of a nude Spanish woman. More obviously, while Velázquez painted his Venus revealing only her back, Goya's portrait is a full frontal view. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: How does La maja desnuda explain its Description?

Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the  pictorial space; according to art historian Janis Tomlinson she seems almost to "press boldly against the confines of her frame", making her more brazen in comparison to the comparatively "timid" nude portrait.The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. Further, the accompanying pendant showing a woman in contemporary dress makes it clear that the focus of the work is not of a mythological subject, as in Velázquez's Rokeby Venus, but in fact of a nude Spanish woman. More obviously, while Velázquez painted his Venus revealing only her back, Goya's portrait is a full frontal view. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: In La maja desnuda, how is the Description discussed?

Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the  pictorial space; according to art historian Janis Tomlinson she seems almost to "press boldly against the confines of her frame", making her more brazen in comparison to the comparatively "timid" nude portrait.The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. Further, the accompanying pendant showing a woman in contemporary dress makes it clear that the focus of the work is not of a mythological subject, as in Velázquez's Rokeby Venus, but in fact of a nude Spanish woman. More obviously, while Velázquez painted his Venus revealing only her back, Goya's portrait is a full frontal view. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Focus on La maja desnuda and explain the Inquisition.

The identity of the model and why the paintings were created are today unknown. Both paintings are first recorded in an inventory of "unpopular and unsuccessful art" by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung in a private room reserved for nude paintings, alongside such works as Velázquez's Rokeby Venus. Godoy retained the picture for six years before it was discovered by investigators for the Spanish Inquisition in 1808, along with his other "questionable pictures". Godoy and the curator of his collection, Don Francisco de Garivay, were brought before a tribunal and forced to reveal the artists behind the confiscated art works which were "so indecent and prejudicial to the public good." The controversy was populist and driven by a political motive, following a mob gathering demanding Godoy's removal as Prime Minister. In the fallout, Goya was named and summoned on a charge of moral depravity. As Godoy had only been found in possession of the painting, Goya was asked to identify why "he did them", and also "at whose request, and what attention guided him." His answers do not survive, but it is known that the Director of Confiscations accepted that Goya had followed and emulated Titian's Danaë series and Velázquez's Rokeby Venus; two painters whose works, including their nudes, were admired by the court and church, and the Inquisition had previously found nothing objectionable in the Rokeby Venus.Goya escaped prosecution when the tribunal accepted that he was following in a tradition, and emulating a Velázquez painting which had been favoured by Philip IV of Spain. The earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, "the room where His Majesty retires after eating." In fact, the Inquisition by 1808 was nearing the end of its influence, and while it could draw attention to "dangerous" forms of expression, be they books, plays, or paintings, it was usually unable to fully suppress them.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Explain the Inquisition of this artwork, La maja desnuda.

The identity of the model and why the paintings were created are today unknown. Both paintings are first recorded in an inventory of "unpopular and unsuccessful art" by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung in a private room reserved for nude paintings, alongside such works as Velázquez's Rokeby Venus. Godoy retained the picture for six years before it was discovered by investigators for the Spanish Inquisition in 1808, along with his other "questionable pictures". Godoy and the curator of his collection, Don Francisco de Garivay, were brought before a tribunal and forced to reveal the artists behind the confiscated art works which were "so indecent and prejudicial to the public good." The controversy was populist and driven by a political motive, following a mob gathering demanding Godoy's removal as Prime Minister. In the fallout, Goya was named and summoned on a charge of moral depravity. As Godoy had only been found in possession of the painting, Goya was asked to identify why "he did them", and also "at whose request, and what attention guided him." His answers do not survive, but it is known that the Director of Confiscations accepted that Goya had followed and emulated Titian's Danaë series and Velázquez's Rokeby Venus; two painters whose works, including their nudes, were admired by the court and church, and the Inquisition had previously found nothing objectionable in the Rokeby Venus.Goya escaped prosecution when the tribunal accepted that he was following in a tradition, and emulating a Velázquez painting which had been favoured by Philip IV of Spain. The earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, "the room where His Majesty retires after eating." In fact, the Inquisition by 1808 was nearing the end of its influence, and while it could draw attention to "dangerous" forms of expression, be they books, plays, or paintings, it was usually unable to fully suppress them.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: How does La maja desnuda explain its Inquisition?

The identity of the model and why the paintings were created are today unknown. Both paintings are first recorded in an inventory of "unpopular and unsuccessful art" by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung in a private room reserved for nude paintings, alongside such works as Velázquez's Rokeby Venus. Godoy retained the picture for six years before it was discovered by investigators for the Spanish Inquisition in 1808, along with his other "questionable pictures". Godoy and the curator of his collection, Don Francisco de Garivay, were brought before a tribunal and forced to reveal the artists behind the confiscated art works which were "so indecent and prejudicial to the public good." The controversy was populist and driven by a political motive, following a mob gathering demanding Godoy's removal as Prime Minister. In the fallout, Goya was named and summoned on a charge of moral depravity. As Godoy had only been found in possession of the painting, Goya was asked to identify why "he did them", and also "at whose request, and what attention guided him." His answers do not survive, but it is known that the Director of Confiscations accepted that Goya had followed and emulated Titian's Danaë series and Velázquez's Rokeby Venus; two painters whose works, including their nudes, were admired by the court and church, and the Inquisition had previously found nothing objectionable in the Rokeby Venus.Goya escaped prosecution when the tribunal accepted that he was following in a tradition, and emulating a Velázquez painting which had been favoured by Philip IV of Spain. The earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, "the room where His Majesty retires after eating." In fact, the Inquisition by 1808 was nearing the end of its influence, and while it could draw attention to "dangerous" forms of expression, be they books, plays, or paintings, it was usually unable to fully suppress them.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: In La maja desnuda, how is the Inquisition discussed?

The identity of the model and why the paintings were created are today unknown. Both paintings are first recorded in an inventory of "unpopular and unsuccessful art" by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung in a private room reserved for nude paintings, alongside such works as Velázquez's Rokeby Venus. Godoy retained the picture for six years before it was discovered by investigators for the Spanish Inquisition in 1808, along with his other "questionable pictures". Godoy and the curator of his collection, Don Francisco de Garivay, were brought before a tribunal and forced to reveal the artists behind the confiscated art works which were "so indecent and prejudicial to the public good." The controversy was populist and driven by a political motive, following a mob gathering demanding Godoy's removal as Prime Minister. In the fallout, Goya was named and summoned on a charge of moral depravity. As Godoy had only been found in possession of the painting, Goya was asked to identify why "he did them", and also "at whose request, and what attention guided him." His answers do not survive, but it is known that the Director of Confiscations accepted that Goya had followed and emulated Titian's Danaë series and Velázquez's Rokeby Venus; two painters whose works, including their nudes, were admired by the court and church, and the Inquisition had previously found nothing objectionable in the Rokeby Venus.Goya escaped prosecution when the tribunal accepted that he was following in a tradition, and emulating a Velázquez painting which had been favoured by Philip IV of Spain. The earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, "the room where His Majesty retires after eating." In fact, the Inquisition by 1808 was nearing the end of its influence, and while it could draw attention to "dangerous" forms of expression, be they books, plays, or paintings, it was usually unable to fully suppress them.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Focus on La maja desnuda and explain the Provenance.

La maja desnuda has always hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901.It is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba


La maja desnuda

Prompt: Explain the Provenance of this artwork, La maja desnuda.

La maja desnuda has always hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901.It is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba


La maja desnuda

Prompt: How does La maja desnuda explain its Provenance?

La maja desnuda has always hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901.It is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba


La maja desnuda

Prompt: In La maja desnuda, how is the Provenance discussed?

La maja desnuda has always hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901.It is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba


La maja desnuda

Prompt: Focus on La maja desnuda and explain the Identity of the model.

It has been conjectured that the woman depicted was Prime Minister Godoy's young mistress Pepita Tudó. It has also been suggested that the woman was María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and whose portrait he painted twice (in 1795 and 1797). However, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a more likely candidate. Others believe that the woman is a composite of several different models.The word maja is the feminine form of majo, a low-class Spaniard of the 18th and 19th century.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Explain the Identity of the model of this artwork, La maja desnuda.

It has been conjectured that the woman depicted was Prime Minister Godoy's young mistress Pepita Tudó. It has also been suggested that the woman was María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and whose portrait he painted twice (in 1795 and 1797). However, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a more likely candidate. Others believe that the woman is a composite of several different models.The word maja is the feminine form of majo, a low-class Spaniard of the 18th and 19th century.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: How does La maja desnuda explain its Identity of the model?

It has been conjectured that the woman depicted was Prime Minister Godoy's young mistress Pepita Tudó. It has also been suggested that the woman was María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and whose portrait he painted twice (in 1795 and 1797). However, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a more likely candidate. Others believe that the woman is a composite of several different models.The word maja is the feminine form of majo, a low-class Spaniard of the 18th and 19th century.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: In La maja desnuda, how is the Identity of the model discussed?

It has been conjectured that the woman depicted was Prime Minister Godoy's young mistress Pepita Tudó. It has also been suggested that the woman was María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and whose portrait he painted twice (in 1795 and 1797). However, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a more likely candidate. Others believe that the woman is a composite of several different models.The word maja is the feminine form of majo, a low-class Spaniard of the 18th and 19th century.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Focus on La maja desnuda and explain the Influence.

The work has inspired other artists. Jeffrey Meyers, in his book Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manet's Olympia "boldly alluded to another masterpiece, Goya's Naked Maja."Two sets of stamps depicting La maja desnuda in commemoration of Goya's work were privately produced in 1930 and later approved by the Spanish Postal Authority.The novel The Naked Maja (by Samuel Edwards, 1959) is based on Goya's affairs with the Duchess. Later that same year, an Italian-French-American co-production film based on this novel (sharing |the same name) was made by S.G.C., Titanus Films, and United Artists.The painting figures into the plot of film Toto in Madrid, an Italian comedy film from 1959, directed by Steno, written by Vittorio Metz, starring Totò and Louis de Funès.In the comedy film The Toy (1982 film), U.S. Bates has a portrait of his young wife posed in imitation of La maja vestida. A hidden switch on Bates' desk causes the figure's clothes to slide away, making it now resemble La maja desnuda.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: Explain the Influence of this artwork, La maja desnuda.

The work has inspired other artists. Jeffrey Meyers, in his book Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manet's Olympia "boldly alluded to another masterpiece, Goya's Naked Maja."Two sets of stamps depicting La maja desnuda in commemoration of Goya's work were privately produced in 1930 and later approved by the Spanish Postal Authority.The novel The Naked Maja (by Samuel Edwards, 1959) is based on Goya's affairs with the Duchess. Later that same year, an Italian-French-American co-production film based on this novel (sharing |the same name) was made by S.G.C., Titanus Films, and United Artists.The painting figures into the plot of film Toto in Madrid, an Italian comedy film from 1959, directed by Steno, written by Vittorio Metz, starring Totò and Louis de Funès.In the comedy film The Toy (1982 film), U.S. Bates has a portrait of his young wife posed in imitation of La maja vestida. A hidden switch on Bates' desk causes the figure's clothes to slide away, making it now resemble La maja desnuda.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: How does La maja desnuda explain its Influence?

The work has inspired other artists. Jeffrey Meyers, in his book Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manet's Olympia "boldly alluded to another masterpiece, Goya's Naked Maja."Two sets of stamps depicting La maja desnuda in commemoration of Goya's work were privately produced in 1930 and later approved by the Spanish Postal Authority.The novel The Naked Maja (by Samuel Edwards, 1959) is based on Goya's affairs with the Duchess. Later that same year, an Italian-French-American co-production film based on this novel (sharing |the same name) was made by S.G.C., Titanus Films, and United Artists.The painting figures into the plot of film Toto in Madrid, an Italian comedy film from 1959, directed by Steno, written by Vittorio Metz, starring Totò and Louis de Funès.In the comedy film The Toy (1982 film), U.S. Bates has a portrait of his young wife posed in imitation of La maja vestida. A hidden switch on Bates' desk causes the figure's clothes to slide away, making it now resemble La maja desnuda.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


La maja desnuda

Prompt: In La maja desnuda, how is the Influence discussed?

The work has inspired other artists. Jeffrey Meyers, in his book Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manet's Olympia "boldly alluded to another masterpiece, Goya's Naked Maja."Two sets of stamps depicting La maja desnuda in commemoration of Goya's work were privately produced in 1930 and later approved by the Spanish Postal Authority.The novel The Naked Maja (by Samuel Edwards, 1959) is based on Goya's affairs with the Duchess. Later that same year, an Italian-French-American co-production film based on this novel (sharing |the same name) was made by S.G.C., Titanus Films, and United Artists.The painting figures into the plot of film Toto in Madrid, an Italian comedy film from 1959, directed by Steno, written by Vittorio Metz, starring Totò and Louis de Funès.In the comedy film The Toy (1982 film), U.S. Bates has a portrait of his young wife posed in imitation of La maja vestida. A hidden switch on Bates' desk causes the figure's clothes to slide away, making it now resemble La maja desnuda.

File:Francisco de Goya - Escena de Inquisición - Google Art Project.jpg

Josefa de Tudó, 1st Countess of Castillo Fiel

María Cayetana de Silva, 13th Duchess of Alba

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Obscenity controversies in painting

María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba

Royal Academy of Fine Arts of San Fernando


Sacred and Profane Love

Prompt: Focus on Sacred and Profane Love and explain the abstract.

Sacred and Profane Love (Italian: Amor Sacro e Amor Profano) is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.The title of the painting is first recorded in 1693, when it was listed in an inventory as Amor Divino e Amor Profano (Divine love and Profane love), and may not represent the original concept at all.Although "much ink has been spilt by art historians attempting to decipher the iconography of the painting", and some measure of consensus has been achieved, basic aspects of the intended meaning of the painting, including the identity of the central figures, remain disputed.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Explain the abstract of this artwork, Sacred and Profane Love.

Sacred and Profane Love (Italian: Amor Sacro e Amor Profano) is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.The title of the painting is first recorded in 1693, when it was listed in an inventory as Amor Divino e Amor Profano (Divine love and Profane love), and may not represent the original concept at all.Although "much ink has been spilt by art historians attempting to decipher the iconography of the painting", and some measure of consensus has been achieved, basic aspects of the intended meaning of the painting, including the identity of the central figures, remain disputed.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: How does Sacred and Profane Love explain its abstract?

Sacred and Profane Love (Italian: Amor Sacro e Amor Profano) is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.The title of the painting is first recorded in 1693, when it was listed in an inventory as Amor Divino e Amor Profano (Divine love and Profane love), and may not represent the original concept at all.Although "much ink has been spilt by art historians attempting to decipher the iconography of the painting", and some measure of consensus has been achieved, basic aspects of the intended meaning of the painting, including the identity of the central figures, remain disputed.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: In Sacred and Profane Love, how is the abstract discussed?

Sacred and Profane Love (Italian: Amor Sacro e Amor Profano) is an oil painting by Titian, probably painted in 1514, early in his career. The painting is presumed to have been commissioned by Niccolò Aurelio, a secretary to the Venetian Council of Ten, whose coat of arms appears on the sarcophagus or fountain, to celebrate his marriage to a young widow, Laura Bagarotto. It perhaps depicts a figure representing the bride dressed in white, sitting beside Cupid and accompanied by the goddess Venus.The title of the painting is first recorded in 1693, when it was listed in an inventory as Amor Divino e Amor Profano (Divine love and Profane love), and may not represent the original concept at all.Although "much ink has been spilt by art historians attempting to decipher the iconography of the painting", and some measure of consensus has been achieved, basic aspects of the intended meaning of the painting, including the identity of the central figures, remain disputed.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Focus on Sacred and Profane Love and explain the Description.

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi.  How the water enters is unclear, but it leaves through a phallic-looking brass spout between the two women, next to an anachronistic coat of arms in the carving.  This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.  He is looking intently into the water, and splashing a hand in it.  The woman on the left is fully and richly dressed; her clothes are now usually recognized as those of a bride, though in the past they have been said to be typical of courtesan wear.  In her hair she wears myrtle, both a flower sacred to Venus and one worn by brides.In contrast, the woman on the right is nude except for a white cloth over her loins and a large red mantle worn over one shoulder.  It was generally recognised by the 20th century that, somewhat contrary to a natural first impression, if the painting indeed represented figures along the lines of Sacred and Profane Love, the clothed figure was "sacred love", and the nude one "profane love". The nude figure sits comfortably on the ledge of the trough, with one hand resting on it and the other held high, holding a vessel with smoke coming out of it, probably an incense-burner.  In contrast the pose of the clothed figure, apparently poised and relaxed, becomes rather strange in the lower part of her body when considered carefully, "the lower half of the bride's body is lost in her drapery and does not conform with her upper half". The ledge seems too high for her to be sitting on it properly, and her knees are wide apart.  Perhaps she is actually sitting on something else beside the trough, or this may just be one of a number of lapses in depicting anatomy found in Titian's early career.The clothed woman leans over, but is probably not supported by, a metal bowl whose contents have been described in various ways, despite it not being possible to see them.  Another shallow metal bowl is on the ledge, nearer the nude figure; some have proposed a meaning for the decoration inside the bowl, such as the arms of Aurelio's bride, but this does not seem to be the case on close examination, after the picture was cleaned. It would be convenient if the arms were there, as an early objection to the marriage picture theory was that "allusion to a marriage would require two coats of arms, not one".The carved scenes on the front face of the trough/sarcophagus do not yet have a generally agreed reading. They were described by Edgar Wind as "A man is being scourged, a woman dragged by the hair, and an unbridled horse is led away by the mane", all perhaps images of the taming of the passions.  Alternatively they have been seen as (reading right to left): Adam and Eve standing beside the Tree of Knowledge, Cain killing Abel, and the Conversion of Saint Paul, shown falling off his horse. By 1914 they had been claimed to derive from scenes in five different literary works, ancient and modern, reflecting the 19th-century taste for finding literary sources for paintings.  They have been connected with the woodcut illustrations to Francesco Colonna's Hypnerotomachia Poliphili (published in Venice in 1499).The landscape on the left, behind the clothed woman, goes uphill to a what seems to be a walled castle or village dominated by a high defensive tower.  There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance.  The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water.  Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Explain the Description of this artwork, Sacred and Profane Love.

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi.  How the water enters is unclear, but it leaves through a phallic-looking brass spout between the two women, next to an anachronistic coat of arms in the carving.  This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.  He is looking intently into the water, and splashing a hand in it.  The woman on the left is fully and richly dressed; her clothes are now usually recognized as those of a bride, though in the past they have been said to be typical of courtesan wear.  In her hair she wears myrtle, both a flower sacred to Venus and one worn by brides.In contrast, the woman on the right is nude except for a white cloth over her loins and a large red mantle worn over one shoulder.  It was generally recognised by the 20th century that, somewhat contrary to a natural first impression, if the painting indeed represented figures along the lines of Sacred and Profane Love, the clothed figure was "sacred love", and the nude one "profane love". The nude figure sits comfortably on the ledge of the trough, with one hand resting on it and the other held high, holding a vessel with smoke coming out of it, probably an incense-burner.  In contrast the pose of the clothed figure, apparently poised and relaxed, becomes rather strange in the lower part of her body when considered carefully, "the lower half of the bride's body is lost in her drapery and does not conform with her upper half". The ledge seems too high for her to be sitting on it properly, and her knees are wide apart.  Perhaps she is actually sitting on something else beside the trough, or this may just be one of a number of lapses in depicting anatomy found in Titian's early career.The clothed woman leans over, but is probably not supported by, a metal bowl whose contents have been described in various ways, despite it not being possible to see them.  Another shallow metal bowl is on the ledge, nearer the nude figure; some have proposed a meaning for the decoration inside the bowl, such as the arms of Aurelio's bride, but this does not seem to be the case on close examination, after the picture was cleaned. It would be convenient if the arms were there, as an early objection to the marriage picture theory was that "allusion to a marriage would require two coats of arms, not one".The carved scenes on the front face of the trough/sarcophagus do not yet have a generally agreed reading. They were described by Edgar Wind as "A man is being scourged, a woman dragged by the hair, and an unbridled horse is led away by the mane", all perhaps images of the taming of the passions.  Alternatively they have been seen as (reading right to left): Adam and Eve standing beside the Tree of Knowledge, Cain killing Abel, and the Conversion of Saint Paul, shown falling off his horse. By 1914 they had been claimed to derive from scenes in five different literary works, ancient and modern, reflecting the 19th-century taste for finding literary sources for paintings.  They have been connected with the woodcut illustrations to Francesco Colonna's Hypnerotomachia Poliphili (published in Venice in 1499).The landscape on the left, behind the clothed woman, goes uphill to a what seems to be a walled castle or village dominated by a high defensive tower.  There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance.  The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water.  Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: How does Sacred and Profane Love explain its Description?

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi.  How the water enters is unclear, but it leaves through a phallic-looking brass spout between the two women, next to an anachronistic coat of arms in the carving.  This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.  He is looking intently into the water, and splashing a hand in it.  The woman on the left is fully and richly dressed; her clothes are now usually recognized as those of a bride, though in the past they have been said to be typical of courtesan wear.  In her hair she wears myrtle, both a flower sacred to Venus and one worn by brides.In contrast, the woman on the right is nude except for a white cloth over her loins and a large red mantle worn over one shoulder.  It was generally recognised by the 20th century that, somewhat contrary to a natural first impression, if the painting indeed represented figures along the lines of Sacred and Profane Love, the clothed figure was "sacred love", and the nude one "profane love". The nude figure sits comfortably on the ledge of the trough, with one hand resting on it and the other held high, holding a vessel with smoke coming out of it, probably an incense-burner.  In contrast the pose of the clothed figure, apparently poised and relaxed, becomes rather strange in the lower part of her body when considered carefully, "the lower half of the bride's body is lost in her drapery and does not conform with her upper half". The ledge seems too high for her to be sitting on it properly, and her knees are wide apart.  Perhaps she is actually sitting on something else beside the trough, or this may just be one of a number of lapses in depicting anatomy found in Titian's early career.The clothed woman leans over, but is probably not supported by, a metal bowl whose contents have been described in various ways, despite it not being possible to see them.  Another shallow metal bowl is on the ledge, nearer the nude figure; some have proposed a meaning for the decoration inside the bowl, such as the arms of Aurelio's bride, but this does not seem to be the case on close examination, after the picture was cleaned. It would be convenient if the arms were there, as an early objection to the marriage picture theory was that "allusion to a marriage would require two coats of arms, not one".The carved scenes on the front face of the trough/sarcophagus do not yet have a generally agreed reading. They were described by Edgar Wind as "A man is being scourged, a woman dragged by the hair, and an unbridled horse is led away by the mane", all perhaps images of the taming of the passions.  Alternatively they have been seen as (reading right to left): Adam and Eve standing beside the Tree of Knowledge, Cain killing Abel, and the Conversion of Saint Paul, shown falling off his horse. By 1914 they had been claimed to derive from scenes in five different literary works, ancient and modern, reflecting the 19th-century taste for finding literary sources for paintings.  They have been connected with the woodcut illustrations to Francesco Colonna's Hypnerotomachia Poliphili (published in Venice in 1499).The landscape on the left, behind the clothed woman, goes uphill to a what seems to be a walled castle or village dominated by a high defensive tower.  There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance.  The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water.  Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: In Sacred and Profane Love, how is the Description discussed?

Two women, who appear to be modelled on the same person, sit on a carved Ancient Roman sarcophagus that has been converted to a water-trough, or a trough made to look like a Roman sarcophagus; the broad ledges here are not found in actual sarcophagi.  How the water enters is unclear, but it leaves through a phallic-looking brass spout between the two women, next to an anachronistic coat of arms in the carving.  This belongs to Niccolò Aurelio, whose presence in the picture is probably also represented by the spout.Between the two women is a small winged boy, who may be Cupid, son and companion of Venus, or merely a putto.  He is looking intently into the water, and splashing a hand in it.  The woman on the left is fully and richly dressed; her clothes are now usually recognized as those of a bride, though in the past they have been said to be typical of courtesan wear.  In her hair she wears myrtle, both a flower sacred to Venus and one worn by brides.In contrast, the woman on the right is nude except for a white cloth over her loins and a large red mantle worn over one shoulder.  It was generally recognised by the 20th century that, somewhat contrary to a natural first impression, if the painting indeed represented figures along the lines of Sacred and Profane Love, the clothed figure was "sacred love", and the nude one "profane love". The nude figure sits comfortably on the ledge of the trough, with one hand resting on it and the other held high, holding a vessel with smoke coming out of it, probably an incense-burner.  In contrast the pose of the clothed figure, apparently poised and relaxed, becomes rather strange in the lower part of her body when considered carefully, "the lower half of the bride's body is lost in her drapery and does not conform with her upper half". The ledge seems too high for her to be sitting on it properly, and her knees are wide apart.  Perhaps she is actually sitting on something else beside the trough, or this may just be one of a number of lapses in depicting anatomy found in Titian's early career.The clothed woman leans over, but is probably not supported by, a metal bowl whose contents have been described in various ways, despite it not being possible to see them.  Another shallow metal bowl is on the ledge, nearer the nude figure; some have proposed a meaning for the decoration inside the bowl, such as the arms of Aurelio's bride, but this does not seem to be the case on close examination, after the picture was cleaned. It would be convenient if the arms were there, as an early objection to the marriage picture theory was that "allusion to a marriage would require two coats of arms, not one".The carved scenes on the front face of the trough/sarcophagus do not yet have a generally agreed reading. They were described by Edgar Wind as "A man is being scourged, a woman dragged by the hair, and an unbridled horse is led away by the mane", all perhaps images of the taming of the passions.  Alternatively they have been seen as (reading right to left): Adam and Eve standing beside the Tree of Knowledge, Cain killing Abel, and the Conversion of Saint Paul, shown falling off his horse. By 1914 they had been claimed to derive from scenes in five different literary works, ancient and modern, reflecting the 19th-century taste for finding literary sources for paintings.  They have been connected with the woodcut illustrations to Francesco Colonna's Hypnerotomachia Poliphili (published in Venice in 1499).The landscape on the left, behind the clothed woman, goes uphill to a what seems to be a walled castle or village dominated by a high defensive tower.  There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance.  The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water.  Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Focus on Sacred and Profane Love and explain the Meaning.

There have been a number of conflicting interpretations of the painting.  Their starting point is to identify the purpose of the painting, which most interpretations in recent decades see as commemorating a marriage.  Next the figures, who seem physically identical, but whose clothing is so different, need to be assigned identities, at which point agreement ends.  While the trend in recent years has been to downplay complicated and obscure explanations of the iconography of paintings by Titian (and other Venetian painters), in this case no straightforward interpretation has been found, and scholars remain more ready to consider allegorical alternatives of some complexity, Titian would probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. But the identity of any scholar that could be implicated in furnishing a program to Titian remains pure speculation.Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of Geminae Veneres or "Twin Venuses", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism. In 1969 the scholar Erwin Panofsky suggested the two figures were representations of the 'Twin Venuses' with the clothed figure representing the 'earthly' Venus - (Venere Vulgare), while the other was 'celestial' (Venere Celeste). This remains the most accepted and convincing interpretation to this day.  Others see the clothed figure as representing the bride (idealized, and not a portrait, which would have been rather indecorous in Venice), and only the nude figure representing Venus.Although the first record of a version of what is now the usual title is only in an inventory of 1693, it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Explain the Meaning of this artwork, Sacred and Profane Love.

There have been a number of conflicting interpretations of the painting.  Their starting point is to identify the purpose of the painting, which most interpretations in recent decades see as commemorating a marriage.  Next the figures, who seem physically identical, but whose clothing is so different, need to be assigned identities, at which point agreement ends.  While the trend in recent years has been to downplay complicated and obscure explanations of the iconography of paintings by Titian (and other Venetian painters), in this case no straightforward interpretation has been found, and scholars remain more ready to consider allegorical alternatives of some complexity, Titian would probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. But the identity of any scholar that could be implicated in furnishing a program to Titian remains pure speculation.Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of Geminae Veneres or "Twin Venuses", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism. In 1969 the scholar Erwin Panofsky suggested the two figures were representations of the 'Twin Venuses' with the clothed figure representing the 'earthly' Venus - (Venere Vulgare), while the other was 'celestial' (Venere Celeste). This remains the most accepted and convincing interpretation to this day.  Others see the clothed figure as representing the bride (idealized, and not a portrait, which would have been rather indecorous in Venice), and only the nude figure representing Venus.Although the first record of a version of what is now the usual title is only in an inventory of 1693, it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: How does Sacred and Profane Love explain its Meaning?

There have been a number of conflicting interpretations of the painting.  Their starting point is to identify the purpose of the painting, which most interpretations in recent decades see as commemorating a marriage.  Next the figures, who seem physically identical, but whose clothing is so different, need to be assigned identities, at which point agreement ends.  While the trend in recent years has been to downplay complicated and obscure explanations of the iconography of paintings by Titian (and other Venetian painters), in this case no straightforward interpretation has been found, and scholars remain more ready to consider allegorical alternatives of some complexity, Titian would probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. But the identity of any scholar that could be implicated in furnishing a program to Titian remains pure speculation.Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of Geminae Veneres or "Twin Venuses", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism. In 1969 the scholar Erwin Panofsky suggested the two figures were representations of the 'Twin Venuses' with the clothed figure representing the 'earthly' Venus - (Venere Vulgare), while the other was 'celestial' (Venere Celeste). This remains the most accepted and convincing interpretation to this day.  Others see the clothed figure as representing the bride (idealized, and not a portrait, which would have been rather indecorous in Venice), and only the nude figure representing Venus.Although the first record of a version of what is now the usual title is only in an inventory of 1693, it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: In Sacred and Profane Love, how is the Meaning discussed?

There have been a number of conflicting interpretations of the painting.  Their starting point is to identify the purpose of the painting, which most interpretations in recent decades see as commemorating a marriage.  Next the figures, who seem physically identical, but whose clothing is so different, need to be assigned identities, at which point agreement ends.  While the trend in recent years has been to downplay complicated and obscure explanations of the iconography of paintings by Titian (and other Venetian painters), in this case no straightforward interpretation has been found, and scholars remain more ready to consider allegorical alternatives of some complexity, Titian would probably not have devised a complicated allegorical meaning himself; it has been suggested that the Renaissance humanist scholar Cardinal Pietro Bembo, or a similar figure, may have devised the allegorical scheme. But the identity of any scholar that could be implicated in furnishing a program to Titian remains pure speculation.Scholars have proposed several identifications of the figures, and analyses and interpretations which largely flow from these. The concept of Geminae Veneres or "Twin Venuses", a dual nature in Venus, was well developed in both classical thought and Renaissance Neoplatonism. In 1969 the scholar Erwin Panofsky suggested the two figures were representations of the 'Twin Venuses' with the clothed figure representing the 'earthly' Venus - (Venere Vulgare), while the other was 'celestial' (Venere Celeste). This remains the most accepted and convincing interpretation to this day.  Others see the clothed figure as representing the bride (idealized, and not a portrait, which would have been rather indecorous in Venice), and only the nude figure representing Venus.Although the first record of a version of what is now the usual title is only in an inventory of 1693, it remains possible that the two female figures are indeed intended to be personifications of the Neoplatonic concepts of sacred and profane love. The art historian Walter Friedländer outlined similarities between the painting and Francesco Colonna's Hypnerotomachia Poliphili and proposed that the two figures represented Polia and Venere, the two female characters in the 1499 romance.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Focus on Sacred and Profane Love and explain the Style.

The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival.  While many works of the previous few years have been disputed between the two artists, there is no question of that here.  Titian shows "entire clarity and consistency of purpose, and certainty in the selection of artistic means.  After a decade of search in multiple and sometimes contradictory directions, Titian has settled for the basic proposition of classical style that had been expounded by Giorgione, but with precise self-knowledge of the differences of personality and vision — and, not least, of hand — with which could interpret it."A religious painting of the same period, that has many similarities in style is the Noli me tangere, probably also of 1514 (National Gallery), in which Titian uses much the same group of buildings as at the left here, but reversed and without the tower.  These develop from the group in the Dresden Venus.In Titian's Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter (probably before 1512, Royal Museum of Fine Arts, Antwerp) Saint Peter is enthroned above a painting of a classical relief which can be compared to the one here in size, complexity, and its uncertain subject-matter.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Explain the Style of this artwork, Sacred and Profane Love.

The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival.  While many works of the previous few years have been disputed between the two artists, there is no question of that here.  Titian shows "entire clarity and consistency of purpose, and certainty in the selection of artistic means.  After a decade of search in multiple and sometimes contradictory directions, Titian has settled for the basic proposition of classical style that had been expounded by Giorgione, but with precise self-knowledge of the differences of personality and vision — and, not least, of hand — with which could interpret it."A religious painting of the same period, that has many similarities in style is the Noli me tangere, probably also of 1514 (National Gallery), in which Titian uses much the same group of buildings as at the left here, but reversed and without the tower.  These develop from the group in the Dresden Venus.In Titian's Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter (probably before 1512, Royal Museum of Fine Arts, Antwerp) Saint Peter is enthroned above a painting of a classical relief which can be compared to the one here in size, complexity, and its uncertain subject-matter.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: How does Sacred and Profane Love explain its Style?

The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival.  While many works of the previous few years have been disputed between the two artists, there is no question of that here.  Titian shows "entire clarity and consistency of purpose, and certainty in the selection of artistic means.  After a decade of search in multiple and sometimes contradictory directions, Titian has settled for the basic proposition of classical style that had been expounded by Giorgione, but with precise self-knowledge of the differences of personality and vision — and, not least, of hand — with which could interpret it."A religious painting of the same period, that has many similarities in style is the Noli me tangere, probably also of 1514 (National Gallery), in which Titian uses much the same group of buildings as at the left here, but reversed and without the tower.  These develop from the group in the Dresden Venus.In Titian's Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter (probably before 1512, Royal Museum of Fine Arts, Antwerp) Saint Peter is enthroned above a painting of a classical relief which can be compared to the one here in size, complexity, and its uncertain subject-matter.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: In Sacred and Profane Love, how is the Style discussed?

The composition has elements also found in the works of Titian's former master or colleague Giorgione, an immensely influential Venetian painter who died very young in 1510, but the painting is generally agreed to show that Titian's own style had developed into a maturity that allows no confusion with his old rival.  While many works of the previous few years have been disputed between the two artists, there is no question of that here.  Titian shows "entire clarity and consistency of purpose, and certainty in the selection of artistic means.  After a decade of search in multiple and sometimes contradictory directions, Titian has settled for the basic proposition of classical style that had been expounded by Giorgione, but with precise self-knowledge of the differences of personality and vision — and, not least, of hand — with which could interpret it."A religious painting of the same period, that has many similarities in style is the Noli me tangere, probably also of 1514 (National Gallery), in which Titian uses much the same group of buildings as at the left here, but reversed and without the tower.  These develop from the group in the Dresden Venus.In Titian's Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter (probably before 1512, Royal Museum of Fine Arts, Antwerp) Saint Peter is enthroned above a painting of a classical relief which can be compared to the one here in size, complexity, and its uncertain subject-matter.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Focus on Sacred and Profane Love and explain the History.

The work was bought in 1608 by Cardinal Scipione Borghese, nephew of Pope Paul V and a major collector and patron of art. It is now kept with other works from the Borghese collection in the Galleria Borghese in Rome.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Explain the History of this artwork, Sacred and Profane Love.

The work was bought in 1608 by Cardinal Scipione Borghese, nephew of Pope Paul V and a major collector and patron of art. It is now kept with other works from the Borghese collection in the Galleria Borghese in Rome.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: How does Sacred and Profane Love explain its History?

The work was bought in 1608 by Cardinal Scipione Borghese, nephew of Pope Paul V and a major collector and patron of art. It is now kept with other works from the Borghese collection in the Galleria Borghese in Rome.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: In Sacred and Profane Love, how is the History discussed?

The work was bought in 1608 by Cardinal Scipione Borghese, nephew of Pope Paul V and a major collector and patron of art. It is now kept with other works from the Borghese collection in the Galleria Borghese in Rome.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Focus on Sacred and Profane Love and explain the Painting materials.

The painting was analyzed in 2000 by a variant of x-ray fluorescence spectroscopy which made it possible to identify the pigments used by Titian. The analysis identified lead white, azurite, lead-tin yellow, vermilion and yellow ochre.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: Explain the Painting materials of this artwork, Sacred and Profane Love.

The painting was analyzed in 2000 by a variant of x-ray fluorescence spectroscopy which made it possible to identify the pigments used by Titian. The analysis identified lead white, azurite, lead-tin yellow, vermilion and yellow ochre.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: How does Sacred and Profane Love explain its Painting materials?

The painting was analyzed in 2000 by a variant of x-ray fluorescence spectroscopy which made it possible to identify the pigments used by Titian. The analysis identified lead white, azurite, lead-tin yellow, vermilion and yellow ochre.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Sacred and Profane Love

Prompt: In Sacred and Profane Love, how is the Painting materials discussed?

The painting was analyzed in 2000 by a variant of x-ray fluorescence spectroscopy which made it possible to identify the pigments used by Titian. The analysis identified lead white, azurite, lead-tin yellow, vermilion and yellow ochre.

Category:Paintings in the Borghese Collection

label=none}}, a 1908 take by [[Julio Romero de Torres

File:Cabeza de Venus de Amor sacro y amor profano de Tiziano.jpg

Category:Allegorical paintings by Titian

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

File:Amor místico y amor profano (Palacio de Viana de Córdoba).jpg


Prompt: Focus on Adoration of the Magi (Gentile da Fabriano) and explain the abstract.

The Adoration of the Magi is a painting by the Italian painter Gentile da Fabriano. The work, housed in the Uffizi Gallery in Florence, Italy, is considered his finest work, and has been described as "the culminating work of International Gothic painting".The artwork was commissioned by the famous banker Palla Strozzi and incorporates many notable elements. The choice of materials including the vibrant colors, gold leaf, and silver used in the painting creates a brilliant and attractive effect. Techniques such as lighting, depth, and three-dimensionality are prevalent in the work and were novel for the time. The frame, along with the painting, is a work of art in itself, specifically because of the intricate, Gothic, and ornamental architectural designs incorporated into it. Other elements of the altarpiece draw upon European conceptions, beliefs and imagery about the Orient. Exotic animals such as monkeys, horses, camels, and lions signify the patron's wealth and status, as well as creating an exotic setting relating to the biblical scene of the painting. Arabic imitation script is evident in the artwork, elevating the work's significance in regards to its luxury and exoticism. The clothing worn by the three magi display influences from Orient's luxury textiles with elements such as gold and floral designs that distinguish the three magi and their oriental roots.

Madonna and Child (Gentile da Fabriano, Washington)

Orsanmichele Church entrance portal, 1410–1420

Orsanmichele Church in Florence, 1410–1420

Monkeys depicted in detail of ''Adoration of the Magi'' (1423) by Gentile da Fabriano; evoke exoticism and signifies the wealth and status of Strozzi family. Monkeys restrained with chains to signify ownership.

Saint John the Baptist, Calamala niche, Orsanmichele in Florence, Lorenzo Ghiberti, 1410–1420

Coronation of the Virgin (Gentile da Fabriano)

Category:Paintings by Gentile da Fabriano

Category:Paintings of the Flight into Egypt

Category:Paintings of the Adoration of the Magi

Exotic clothing of the Magi; decorative oriental patterns that draw from Islamic luxury textiles