Café Terrace at Night

Prompt: How does Café Terrace at Night explain its Genesis?

After finishing Café Terrace at Night, Van Gogh wrote a letter to his sister expressing his enthusiasm:I was interrupted precisely by the work that a new painting of the outside of a café in the evening has been giving me these past few days. On the terrace, there are little figures of people drinking. A huge yellow lantern lights the terrace, the façade, the pavement, and even projects light over the cobblestones of the street, which takes on a violet-pink tinge. The gables of the houses on a street that leads away under the blue sky studded with stars are dark blue or violet, with a green tree. Now there's a painting of night without black. With nothing but beautiful blue, violet and green, and in these surroundings the lighted square is coloured pale sulphur, lemon green. I enormously enjoy painting on the spot at night. In the past they used to draw, and paint the picture from the drawing in the daytime. But I find that it suits me to paint the thing straightaway. It's quite true that I may take a blue for a green in the dark, a blue lilac for a pink lilac, since you can’t make out the nature of the tone clearly. But it’s the only way of getting away from the conventional black night with a poor, pallid and whitish light, while in fact a mere candle by itself gives us the richest yellows and oranges.He continues, in this same letter, You never told me if you had read Guy de Maupassant’s Bel-ami, and what you now think of his talent in general. I say this because the beginning of Bel-ami is precisely the description of a starry night in Paris, with the lighted cafés of the boulevard, and it’s something like the same subject that I've painted just now.This excerpt forms the basis of the  Van Gogh Museum's curators' opinion that the painting is a depiction "of drinkers in the harsh, bright lights of their illuminated facades" from Maupassant's novel Bel Ami, however, they also note that Maupassant makes no mention of a 'starry sky.'In 1981, Bogomila Welsh-Ovcharov argued that since it "displays not only a night scene but also a funnel-like perspective and dominant blue-yellow tonality" it was at least partially inspired by Louis Anquetin's Avenue de Clichy: 5 o'clock in the evening.An academic paper presented at IAFOR's 2013 European Conference on Arts & Humanities, however, advanced the theory that van Gogh intended the painting to be a uniquely innovated Last Supper. The paper was subsequently published by The Art Histories Society in the January 2014 Art History Supplement and the July 2014 fourteenth volume of The Anistoriton Journal of History, Archaeology and Art History.Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing Japonism and Cloisonnism with his own plein air techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette (see Boats du Rhône); "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal Last Supper studies (Interior of a Restaurant in Arles and Interior of the Restaurant Carrel in Arles) featuring straw-bottomed chairs he'd just purchased by the dozen (hoping to start a commune of twelve "artist-apostles" at his Yellow House); culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's Last Supper.Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, "That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals."

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: In Café Terrace at Night, how is the Genesis discussed?

After finishing Café Terrace at Night, Van Gogh wrote a letter to his sister expressing his enthusiasm:I was interrupted precisely by the work that a new painting of the outside of a café in the evening has been giving me these past few days. On the terrace, there are little figures of people drinking. A huge yellow lantern lights the terrace, the façade, the pavement, and even projects light over the cobblestones of the street, which takes on a violet-pink tinge. The gables of the houses on a street that leads away under the blue sky studded with stars are dark blue or violet, with a green tree. Now there's a painting of night without black. With nothing but beautiful blue, violet and green, and in these surroundings the lighted square is coloured pale sulphur, lemon green. I enormously enjoy painting on the spot at night. In the past they used to draw, and paint the picture from the drawing in the daytime. But I find that it suits me to paint the thing straightaway. It's quite true that I may take a blue for a green in the dark, a blue lilac for a pink lilac, since you can’t make out the nature of the tone clearly. But it’s the only way of getting away from the conventional black night with a poor, pallid and whitish light, while in fact a mere candle by itself gives us the richest yellows and oranges.He continues, in this same letter, You never told me if you had read Guy de Maupassant’s Bel-ami, and what you now think of his talent in general. I say this because the beginning of Bel-ami is precisely the description of a starry night in Paris, with the lighted cafés of the boulevard, and it’s something like the same subject that I've painted just now.This excerpt forms the basis of the  Van Gogh Museum's curators' opinion that the painting is a depiction "of drinkers in the harsh, bright lights of their illuminated facades" from Maupassant's novel Bel Ami, however, they also note that Maupassant makes no mention of a 'starry sky.'In 1981, Bogomila Welsh-Ovcharov argued that since it "displays not only a night scene but also a funnel-like perspective and dominant blue-yellow tonality" it was at least partially inspired by Louis Anquetin's Avenue de Clichy: 5 o'clock in the evening.An academic paper presented at IAFOR's 2013 European Conference on Arts & Humanities, however, advanced the theory that van Gogh intended the painting to be a uniquely innovated Last Supper. The paper was subsequently published by The Art Histories Society in the January 2014 Art History Supplement and the July 2014 fourteenth volume of The Anistoriton Journal of History, Archaeology and Art History.Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing Japonism and Cloisonnism with his own plein air techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette (see Boats du Rhône); "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal Last Supper studies (Interior of a Restaurant in Arles and Interior of the Restaurant Carrel in Arles) featuring straw-bottomed chairs he'd just purchased by the dozen (hoping to start a commune of twelve "artist-apostles" at his Yellow House); culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's Last Supper.Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, "That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals."

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: Focus on Café Terrace at Night and explain the Night effects.

When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening (Café, le soir).This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône (painted the same month), and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch.  Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" (emphasis van Gogh's).Unlike the subsequent case of the misplaced Ursa Major in Starry Night Over the Rhône, Van Gogh was careful to reflect the actual appearance of his sky in this work, and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM.

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: Explain the Night effects of this artwork, Café Terrace at Night.

When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening (Café, le soir).This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône (painted the same month), and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch.  Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" (emphasis van Gogh's).Unlike the subsequent case of the misplaced Ursa Major in Starry Night Over the Rhône, Van Gogh was careful to reflect the actual appearance of his sky in this work, and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM.

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: How does Café Terrace at Night explain its Night effects?

When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening (Café, le soir).This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône (painted the same month), and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch.  Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" (emphasis van Gogh's).Unlike the subsequent case of the misplaced Ursa Major in Starry Night Over the Rhône, Van Gogh was careful to reflect the actual appearance of his sky in this work, and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM.

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: In Café Terrace at Night, how is the Night effects discussed?

When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening (Café, le soir).This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône (painted the same month), and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch.  Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" (emphasis van Gogh's).Unlike the subsequent case of the misplaced Ursa Major in Starry Night Over the Rhône, Van Gogh was careful to reflect the actual appearance of his sky in this work, and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM.

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: Focus on Café Terrace at Night and explain the In popular culture.

The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" (2010), the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent (2017). The café was also featured in the film Ronin (1998).The 1980 BBC series 100 Great Paintings featured the painting.

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: Explain the In popular culture of this artwork, Café Terrace at Night.

The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" (2010), the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent (2017). The café was also featured in the film Ronin (1998).The 1980 BBC series 100 Great Paintings featured the painting.

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: How does Café Terrace at Night explain its In popular culture?

The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" (2010), the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent (2017). The café was also featured in the film Ronin (1998).The 1980 BBC series 100 Great Paintings featured the painting.

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: In Café Terrace at Night, how is the In popular culture discussed?

The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" (2010), the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent (2017). The café was also featured in the film Ronin (1998).The 1980 BBC series 100 Great Paintings featured the painting.

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: Focus on Café Terrace at Night and explain the Colour.

"This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green."

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: Explain the Colour of this artwork, Café Terrace at Night.

"This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green."

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: How does Café Terrace at Night explain its Colour?

"This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green."

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Café Terrace at Night

Prompt: In Café Terrace at Night, how is the Colour discussed?

"This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green."

File:Vincent van Gogh - Cafe Terrace at Night (1888).jpg

Category:Collection of the Kröller-Müller Museum

Category:Paintings of Arles by Vincent van Gogh

Preparatory study for the  painting, September 1888.<br/>(F1519) [[Dallas Museum of Art

Interior of the Restaurant Carrel in Arles

The café terrace, now 'Le Café La Nuit', at Place du Forum, [[Arles


Bathsheba at Her Bath (Rembrandt)

Prompt: Focus on Bathsheba at Her Bath (Rembrandt) and explain the abstract.

Bathsheba at Her Bath (or Bathsheba with King David's Letter) is an oil painting by the Dutch artist Rembrandt (1606–1669), finished in 1654.A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story related in 2 Samuel 11 in which King David sees Bathsheba bathing and, entranced, impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, leaving him to certain death.While the scene of David spying on Bathsheba had been painted by earlier artists, Rembrandt's depiction differs in its tight pictorial focus and erotic vitality, achieved through broad, thick brushstrokes and vibrant coloration.The painting hangs in The Louvre; it is one of 583 works donated by Dr. Louis La Caze in 1869. For Kenneth Clark, the canvas is "Rembrandt's greatest painting of the nude". Its insight into Bathsheba's moral dilemma has been described as "one of the great achievements of western painting."

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Explain the abstract of this artwork, Bathsheba at Her Bath (Rembrandt).

Bathsheba at Her Bath (or Bathsheba with King David's Letter) is an oil painting by the Dutch artist Rembrandt (1606–1669), finished in 1654.A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story related in 2 Samuel 11 in which King David sees Bathsheba bathing and, entranced, impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, leaving him to certain death.While the scene of David spying on Bathsheba had been painted by earlier artists, Rembrandt's depiction differs in its tight pictorial focus and erotic vitality, achieved through broad, thick brushstrokes and vibrant coloration.The painting hangs in The Louvre; it is one of 583 works donated by Dr. Louis La Caze in 1869. For Kenneth Clark, the canvas is "Rembrandt's greatest painting of the nude". Its insight into Bathsheba's moral dilemma has been described as "one of the great achievements of western painting."

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: How does Bathsheba at Her Bath (Rembrandt) explain its abstract?

Bathsheba at Her Bath (or Bathsheba with King David's Letter) is an oil painting by the Dutch artist Rembrandt (1606–1669), finished in 1654.A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story related in 2 Samuel 11 in which King David sees Bathsheba bathing and, entranced, impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, leaving him to certain death.While the scene of David spying on Bathsheba had been painted by earlier artists, Rembrandt's depiction differs in its tight pictorial focus and erotic vitality, achieved through broad, thick brushstrokes and vibrant coloration.The painting hangs in The Louvre; it is one of 583 works donated by Dr. Louis La Caze in 1869. For Kenneth Clark, the canvas is "Rembrandt's greatest painting of the nude". Its insight into Bathsheba's moral dilemma has been described as "one of the great achievements of western painting."

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: In Bathsheba at Her Bath (Rembrandt), how is the abstract discussed?

Bathsheba at Her Bath (or Bathsheba with King David's Letter) is an oil painting by the Dutch artist Rembrandt (1606–1669), finished in 1654.A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story related in 2 Samuel 11 in which King David sees Bathsheba bathing and, entranced, impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, leaving him to certain death.While the scene of David spying on Bathsheba had been painted by earlier artists, Rembrandt's depiction differs in its tight pictorial focus and erotic vitality, achieved through broad, thick brushstrokes and vibrant coloration.The painting hangs in The Louvre; it is one of 583 works donated by Dr. Louis La Caze in 1869. For Kenneth Clark, the canvas is "Rembrandt's greatest painting of the nude". Its insight into Bathsheba's moral dilemma has been described as "one of the great achievements of western painting."

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Focus on Bathsheba at Her Bath (Rembrandt) and explain the Biblical account and variation.

The Second Book of Samuel (11:2-4) gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.Prior to Bathsheba at Her Bath, the standard treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants. A tower could usually be seen in the distance, and perhaps a small figure of David, sometimes accompanied by his two courtiers. Such was the design Rembrandt's earlier The Toilet of Bathsheba, dated 1643. By eliminating David, his messengers and most of the traditional narrative elements from the picture—the only anecdotal references included are the letter from David (not actually mentioned in Samuel) and the presence of an attendant drying her foot—Rembrandt's presentation of Bathsheba is both intimate and monumental. As a result, the moralistic theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur.The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Explain the Biblical account and variation of this artwork, Bathsheba at Her Bath (Rembrandt).

The Second Book of Samuel (11:2-4) gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.Prior to Bathsheba at Her Bath, the standard treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants. A tower could usually be seen in the distance, and perhaps a small figure of David, sometimes accompanied by his two courtiers. Such was the design Rembrandt's earlier The Toilet of Bathsheba, dated 1643. By eliminating David, his messengers and most of the traditional narrative elements from the picture—the only anecdotal references included are the letter from David (not actually mentioned in Samuel) and the presence of an attendant drying her foot—Rembrandt's presentation of Bathsheba is both intimate and monumental. As a result, the moralistic theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur.The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: How does Bathsheba at Her Bath (Rembrandt) explain its Biblical account and variation?

The Second Book of Samuel (11:2-4) gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.Prior to Bathsheba at Her Bath, the standard treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants. A tower could usually be seen in the distance, and perhaps a small figure of David, sometimes accompanied by his two courtiers. Such was the design Rembrandt's earlier The Toilet of Bathsheba, dated 1643. By eliminating David, his messengers and most of the traditional narrative elements from the picture—the only anecdotal references included are the letter from David (not actually mentioned in Samuel) and the presence of an attendant drying her foot—Rembrandt's presentation of Bathsheba is both intimate and monumental. As a result, the moralistic theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur.The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: In Bathsheba at Her Bath (Rembrandt), how is the Biblical account and variation discussed?

The Second Book of Samuel (11:2-4) gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.Prior to Bathsheba at Her Bath, the standard treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants. A tower could usually be seen in the distance, and perhaps a small figure of David, sometimes accompanied by his two courtiers. Such was the design Rembrandt's earlier The Toilet of Bathsheba, dated 1643. By eliminating David, his messengers and most of the traditional narrative elements from the picture—the only anecdotal references included are the letter from David (not actually mentioned in Samuel) and the presence of an attendant drying her foot—Rembrandt's presentation of Bathsheba is both intimate and monumental. As a result, the moralistic theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur.The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Focus on Bathsheba at Her Bath (Rembrandt) and explain the Composition.

Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. Behind her lies a passage of richly painted drapery composed of browns and ochers that impart a golden warmth. Around her rests a thickly painted background of white chemise; set against this her naked flesh stands out for its solid form and the sumptuous application of paint. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure. X-radiographs show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, and it is also possible that her lap, thighs, and right arm were once draped.Despite its classical references, the characterization of the figure is unconventional, and the depictions of her large stomach, hands and feet are derived from observation rather than respect for the idealised form. Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies (an impossibly twisted left arm, the length of the right arm, an unnatural twist of the torso, and the elongated distance from breast to groin) and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness. As a result, her expression is profound enough to suggest not only her sense of resignation, but the broader narrative as well. As a conception of the nude figure suffused with complexity of thought, Bathsheba at Her Bath is nearly unique in art.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Explain the Composition of this artwork, Bathsheba at Her Bath (Rembrandt).

Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. Behind her lies a passage of richly painted drapery composed of browns and ochers that impart a golden warmth. Around her rests a thickly painted background of white chemise; set against this her naked flesh stands out for its solid form and the sumptuous application of paint. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure. X-radiographs show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, and it is also possible that her lap, thighs, and right arm were once draped.Despite its classical references, the characterization of the figure is unconventional, and the depictions of her large stomach, hands and feet are derived from observation rather than respect for the idealised form. Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies (an impossibly twisted left arm, the length of the right arm, an unnatural twist of the torso, and the elongated distance from breast to groin) and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness. As a result, her expression is profound enough to suggest not only her sense of resignation, but the broader narrative as well. As a conception of the nude figure suffused with complexity of thought, Bathsheba at Her Bath is nearly unique in art.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: How does Bathsheba at Her Bath (Rembrandt) explain its Composition?

Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. Behind her lies a passage of richly painted drapery composed of browns and ochers that impart a golden warmth. Around her rests a thickly painted background of white chemise; set against this her naked flesh stands out for its solid form and the sumptuous application of paint. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure. X-radiographs show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, and it is also possible that her lap, thighs, and right arm were once draped.Despite its classical references, the characterization of the figure is unconventional, and the depictions of her large stomach, hands and feet are derived from observation rather than respect for the idealised form. Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies (an impossibly twisted left arm, the length of the right arm, an unnatural twist of the torso, and the elongated distance from breast to groin) and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness. As a result, her expression is profound enough to suggest not only her sense of resignation, but the broader narrative as well. As a conception of the nude figure suffused with complexity of thought, Bathsheba at Her Bath is nearly unique in art.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: In Bathsheba at Her Bath (Rembrandt), how is the Composition discussed?

Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. Behind her lies a passage of richly painted drapery composed of browns and ochers that impart a golden warmth. Around her rests a thickly painted background of white chemise; set against this her naked flesh stands out for its solid form and the sumptuous application of paint. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure. X-radiographs show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, and it is also possible that her lap, thighs, and right arm were once draped.Despite its classical references, the characterization of the figure is unconventional, and the depictions of her large stomach, hands and feet are derived from observation rather than respect for the idealised form. Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies (an impossibly twisted left arm, the length of the right arm, an unnatural twist of the torso, and the elongated distance from breast to groin) and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness. As a result, her expression is profound enough to suggest not only her sense of resignation, but the broader narrative as well. As a conception of the nude figure suffused with complexity of thought, Bathsheba at Her Bath is nearly unique in art.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Focus on Bathsheba at Her Bath (Rembrandt) and explain the Model.

The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years.In "The medical enigma of Rembrandt's Bathsheba", Paolo Zamboni, a professor of vascular surgery at the University of Ferrara, claims to have solved the mystery of the model's breast.  According to Zamboni the model was affected by thrombophlebitis of a superficial vein of the breast, a condition described by Mondor in 1939. Zamboni bases his claim on the similar appearance of the right breast of one of his own patients whose thrombophlebitis was confirmed by ultrasound, and whose mammography was negative for both cancer and mastitis.  The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy (she gave birth to a daughter in October 1654), Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. An alternative hypothesis for the model's identity has suggested that Stoffels' head was placed on the body of another model, which is consistent with the result derived from x-rays that Bathsheba's head had been repainted.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Explain the Model of this artwork, Bathsheba at Her Bath (Rembrandt).

The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years.In "The medical enigma of Rembrandt's Bathsheba", Paolo Zamboni, a professor of vascular surgery at the University of Ferrara, claims to have solved the mystery of the model's breast.  According to Zamboni the model was affected by thrombophlebitis of a superficial vein of the breast, a condition described by Mondor in 1939. Zamboni bases his claim on the similar appearance of the right breast of one of his own patients whose thrombophlebitis was confirmed by ultrasound, and whose mammography was negative for both cancer and mastitis.  The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy (she gave birth to a daughter in October 1654), Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. An alternative hypothesis for the model's identity has suggested that Stoffels' head was placed on the body of another model, which is consistent with the result derived from x-rays that Bathsheba's head had been repainted.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: How does Bathsheba at Her Bath (Rembrandt) explain its Model?

The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years.In "The medical enigma of Rembrandt's Bathsheba", Paolo Zamboni, a professor of vascular surgery at the University of Ferrara, claims to have solved the mystery of the model's breast.  According to Zamboni the model was affected by thrombophlebitis of a superficial vein of the breast, a condition described by Mondor in 1939. Zamboni bases his claim on the similar appearance of the right breast of one of his own patients whose thrombophlebitis was confirmed by ultrasound, and whose mammography was negative for both cancer and mastitis.  The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy (she gave birth to a daughter in October 1654), Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. An alternative hypothesis for the model's identity has suggested that Stoffels' head was placed on the body of another model, which is consistent with the result derived from x-rays that Bathsheba's head had been repainted.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: In Bathsheba at Her Bath (Rembrandt), how is the Model discussed?

The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years.In "The medical enigma of Rembrandt's Bathsheba", Paolo Zamboni, a professor of vascular surgery at the University of Ferrara, claims to have solved the mystery of the model's breast.  According to Zamboni the model was affected by thrombophlebitis of a superficial vein of the breast, a condition described by Mondor in 1939. Zamboni bases his claim on the similar appearance of the right breast of one of his own patients whose thrombophlebitis was confirmed by ultrasound, and whose mammography was negative for both cancer and mastitis.  The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy (she gave birth to a daughter in October 1654), Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. An alternative hypothesis for the model's identity has suggested that Stoffels' head was placed on the body of another model, which is consistent with the result derived from x-rays that Bathsheba's head had been repainted.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Focus on Bathsheba at Her Bath (Rembrandt) and explain the Artistic responses.

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph (1859–61), an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed (c. 1885) has been compared to Bathsheba for similarities in the model's attitude; Degas' father was an acquaintance of Louis La Caze, who owned Bathsheba prior to bequeathing it to the Louvre in 1869.Frédéric Bazille recalled Bathsheba in his La Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Explain the Artistic responses of this artwork, Bathsheba at Her Bath (Rembrandt).

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph (1859–61), an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed (c. 1885) has been compared to Bathsheba for similarities in the model's attitude; Degas' father was an acquaintance of Louis La Caze, who owned Bathsheba prior to bequeathing it to the Louvre in 1869.Frédéric Bazille recalled Bathsheba in his La Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: How does Bathsheba at Her Bath (Rembrandt) explain its Artistic responses?

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph (1859–61), an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed (c. 1885) has been compared to Bathsheba for similarities in the model's attitude; Degas' father was an acquaintance of Louis La Caze, who owned Bathsheba prior to bequeathing it to the Louvre in 1869.Frédéric Bazille recalled Bathsheba in his La Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: In Bathsheba at Her Bath (Rembrandt), how is the Artistic responses discussed?

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph (1859–61), an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed (c. 1885) has been compared to Bathsheba for similarities in the model's attitude; Degas' father was an acquaintance of Louis La Caze, who owned Bathsheba prior to bequeathing it to the Louvre in 1869.Frédéric Bazille recalled Bathsheba in his La Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Focus on Bathsheba at Her Bath (Rembrandt) and explain the In popular culture.

The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker (Catherine Zeta-Jones), but stolen from her by another art thief Robert "Mac" MacDougal (Sean Connery).

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: Explain the In popular culture of this artwork, Bathsheba at Her Bath (Rembrandt).

The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker (Catherine Zeta-Jones), but stolen from her by another art thief Robert "Mac" MacDougal (Sean Connery).

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: How does Bathsheba at Her Bath (Rembrandt) explain its In popular culture?

The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker (Catherine Zeta-Jones), but stolen from her by another art thief Robert "Mac" MacDougal (Sean Connery).

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Bathsheba at Her Bath (Rembrandt)

Prompt: In Bathsheba at Her Bath (Rembrandt), how is the In popular culture discussed?

The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker (Catherine Zeta-Jones), but stolen from her by another art thief Robert "Mac" MacDougal (Sean Connery).

File:Willem Drost - Batsheba met de brief van koning David.jpg

''A Woman Bathing in a Stream'', 1655, [[National Gallery

Rembrandt, ''The Toilet of Bathsheba'', 1643, [[Metropolitan Museum of Art

File:Rembrandt - The Toilet of Bathseba.JPG

File:Bazille, Frédéric ~ La Toilette, 1869-70, Oil on canvas Musee Fabre, Montpelier.jpg

Category:Paintings in the Louvre by Dutch artists

File:A Woman Bathing in a Stream by Rembrandt.jpg

File:Edgar Germain Hilaire Degas 017.jpg


Haystacks (Monet series)

Prompt: Focus on Haystacks (Monet series) and explain the abstract.

Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat (or possibly barley or oats: the original French title, Les Meules à Giverny, simply means The Stacks at Giverny). The title refers primarily to a twenty-five canvas series (Wildenstein Index Numbers 1266–1290) which Monet began near the end of the summer of 1890 and continued through the following spring, though Monet also produced five earlier paintings using this same stack subject. A precursor to the series is the 1884 Haystack Near Giverny (Pushkin Museum).The series is famous for the way in which Monet repeated the same subject to show the differing light and atmosphere at different times of day, across the seasons and in many types of weather.The series is among Monet's most notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago. Other collections include the Museum of Fine Arts, Boston, the Metropolitan Museum and Museum of Modern Art in New York, the National Museum of Western Art in Tokyo, and the Musée de l'Orangerie in Paris. The Art Institute of Chicago collection includes six of the twenty-five Haystacks.Other museums that hold parts of this series include the Getty Center in Los Angeles, the Hill-Stead Museum in Farmington, Connecticut (which also has one of five from the earlier 1888–89 harvest), the Scottish National Gallery, the Minneapolis Institute of Arts, Kunsthaus Zürich, Tel Aviv Museum of Art and the Shelburne Museum,  Vermont. Private collections hold the remaining Haystacks paintings.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: Explain the abstract of this artwork, Haystacks (Monet series).

Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat (or possibly barley or oats: the original French title, Les Meules à Giverny, simply means The Stacks at Giverny). The title refers primarily to a twenty-five canvas series (Wildenstein Index Numbers 1266–1290) which Monet began near the end of the summer of 1890 and continued through the following spring, though Monet also produced five earlier paintings using this same stack subject. A precursor to the series is the 1884 Haystack Near Giverny (Pushkin Museum).The series is famous for the way in which Monet repeated the same subject to show the differing light and atmosphere at different times of day, across the seasons and in many types of weather.The series is among Monet's most notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago. Other collections include the Museum of Fine Arts, Boston, the Metropolitan Museum and Museum of Modern Art in New York, the National Museum of Western Art in Tokyo, and the Musée de l'Orangerie in Paris. The Art Institute of Chicago collection includes six of the twenty-five Haystacks.Other museums that hold parts of this series include the Getty Center in Los Angeles, the Hill-Stead Museum in Farmington, Connecticut (which also has one of five from the earlier 1888–89 harvest), the Scottish National Gallery, the Minneapolis Institute of Arts, Kunsthaus Zürich, Tel Aviv Museum of Art and the Shelburne Museum,  Vermont. Private collections hold the remaining Haystacks paintings.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: How does Haystacks (Monet series) explain its abstract?

Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat (or possibly barley or oats: the original French title, Les Meules à Giverny, simply means The Stacks at Giverny). The title refers primarily to a twenty-five canvas series (Wildenstein Index Numbers 1266–1290) which Monet began near the end of the summer of 1890 and continued through the following spring, though Monet also produced five earlier paintings using this same stack subject. A precursor to the series is the 1884 Haystack Near Giverny (Pushkin Museum).The series is famous for the way in which Monet repeated the same subject to show the differing light and atmosphere at different times of day, across the seasons and in many types of weather.The series is among Monet's most notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago. Other collections include the Museum of Fine Arts, Boston, the Metropolitan Museum and Museum of Modern Art in New York, the National Museum of Western Art in Tokyo, and the Musée de l'Orangerie in Paris. The Art Institute of Chicago collection includes six of the twenty-five Haystacks.Other museums that hold parts of this series include the Getty Center in Los Angeles, the Hill-Stead Museum in Farmington, Connecticut (which also has one of five from the earlier 1888–89 harvest), the Scottish National Gallery, the Minneapolis Institute of Arts, Kunsthaus Zürich, Tel Aviv Museum of Art and the Shelburne Museum,  Vermont. Private collections hold the remaining Haystacks paintings.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: In Haystacks (Monet series), how is the abstract discussed?

Haystacks is the common English title for a series of impressionist paintings by Claude Monet. The principal subject of each painting in the series is stacks of harvested wheat (or possibly barley or oats: the original French title, Les Meules à Giverny, simply means The Stacks at Giverny). The title refers primarily to a twenty-five canvas series (Wildenstein Index Numbers 1266–1290) which Monet began near the end of the summer of 1890 and continued through the following spring, though Monet also produced five earlier paintings using this same stack subject. A precursor to the series is the 1884 Haystack Near Giverny (Pushkin Museum).The series is famous for the way in which Monet repeated the same subject to show the differing light and atmosphere at different times of day, across the seasons and in many types of weather.The series is among Monet's most notable work. The largest Haystacks collections are held at the Musée d'Orsay and Musée Marmottan Monet in Paris, and in the Art Institute of Chicago. Other collections include the Museum of Fine Arts, Boston, the Metropolitan Museum and Museum of Modern Art in New York, the National Museum of Western Art in Tokyo, and the Musée de l'Orangerie in Paris. The Art Institute of Chicago collection includes six of the twenty-five Haystacks.Other museums that hold parts of this series include the Getty Center in Los Angeles, the Hill-Stead Museum in Farmington, Connecticut (which also has one of five from the earlier 1888–89 harvest), the Scottish National Gallery, the Minneapolis Institute of Arts, Kunsthaus Zürich, Tel Aviv Museum of Art and the Shelburne Museum,  Vermont. Private collections hold the remaining Haystacks paintings.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: Focus on Haystacks (Monet series) and explain the Monet background.

Monet settled in Giverny in 1883. Most of his paintings from 1883 until his death 40 years later were of scenes within 3 kilometres (2 mi) of his home and gardens. Monet was intensely aware of and fascinated by the visual nuances of the region's landscape and by the endless variations in the days and in the seasons—the stacks were just outside his door.Monet had previously painted a single subject in different light and different moods. However, as he matured as a painter, his depictions of atmospheric influences were increasingly concerned not only with specific effects but with the overall color harmonies that allowed him an autonomous use of rich color. The conventional wisdom was that the stacks were a simple subject but also an unimaginative one. However, contemporary writers and friends of the artist noted that Monet's subject matter was always carefully chosen, the product of careful thought and analysis.  Monet undertook to capture the stacks in direct light and then to re-examine them from the same view-point in different, often more muted, light and atmospheric conditions. It was then not unusual for Monet, in search of harmonious transitions within the series, to alter the canvases back in his studio.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: Explain the Monet background of this artwork, Haystacks (Monet series).

Monet settled in Giverny in 1883. Most of his paintings from 1883 until his death 40 years later were of scenes within 3 kilometres (2 mi) of his home and gardens. Monet was intensely aware of and fascinated by the visual nuances of the region's landscape and by the endless variations in the days and in the seasons—the stacks were just outside his door.Monet had previously painted a single subject in different light and different moods. However, as he matured as a painter, his depictions of atmospheric influences were increasingly concerned not only with specific effects but with the overall color harmonies that allowed him an autonomous use of rich color. The conventional wisdom was that the stacks were a simple subject but also an unimaginative one. However, contemporary writers and friends of the artist noted that Monet's subject matter was always carefully chosen, the product of careful thought and analysis.  Monet undertook to capture the stacks in direct light and then to re-examine them from the same view-point in different, often more muted, light and atmospheric conditions. It was then not unusual for Monet, in search of harmonious transitions within the series, to alter the canvases back in his studio.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: How does Haystacks (Monet series) explain its Monet background?

Monet settled in Giverny in 1883. Most of his paintings from 1883 until his death 40 years later were of scenes within 3 kilometres (2 mi) of his home and gardens. Monet was intensely aware of and fascinated by the visual nuances of the region's landscape and by the endless variations in the days and in the seasons—the stacks were just outside his door.Monet had previously painted a single subject in different light and different moods. However, as he matured as a painter, his depictions of atmospheric influences were increasingly concerned not only with specific effects but with the overall color harmonies that allowed him an autonomous use of rich color. The conventional wisdom was that the stacks were a simple subject but also an unimaginative one. However, contemporary writers and friends of the artist noted that Monet's subject matter was always carefully chosen, the product of careful thought and analysis.  Monet undertook to capture the stacks in direct light and then to re-examine them from the same view-point in different, often more muted, light and atmospheric conditions. It was then not unusual for Monet, in search of harmonious transitions within the series, to alter the canvases back in his studio.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: In Haystacks (Monet series), how is the Monet background discussed?

Monet settled in Giverny in 1883. Most of his paintings from 1883 until his death 40 years later were of scenes within 3 kilometres (2 mi) of his home and gardens. Monet was intensely aware of and fascinated by the visual nuances of the region's landscape and by the endless variations in the days and in the seasons—the stacks were just outside his door.Monet had previously painted a single subject in different light and different moods. However, as he matured as a painter, his depictions of atmospheric influences were increasingly concerned not only with specific effects but with the overall color harmonies that allowed him an autonomous use of rich color. The conventional wisdom was that the stacks were a simple subject but also an unimaginative one. However, contemporary writers and friends of the artist noted that Monet's subject matter was always carefully chosen, the product of careful thought and analysis.  Monet undertook to capture the stacks in direct light and then to re-examine them from the same view-point in different, often more muted, light and atmospheric conditions. It was then not unusual for Monet, in search of harmonious transitions within the series, to alter the canvases back in his studio.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: Focus on Haystacks (Monet series) and explain the Series background.

The stacks depicted in the series are commonly referred to in English as hay, wheat or grain-stacks. In reality they stored sheafs of grain primarily for bread—so wheat [or possibly barley or oats]—and not hay, an animal food. The 10-to-20-foot (3.0 to 6.1 m) stacks were a way of keeping the sheafs dry until the grain could be separated from the stalks by threshing. The local method of storing and drying unthreshed-grains was to use straw, or sometimes hay, as a thatched 'roof' for the stack, shielding the wheat, barley or oats from the elements until, once dry-enough, they could be threshed. The threshing machines then traveled from village to village. Thus, although the grain was harvested and the stacks were built by July, it often took until the following spring or even later—so through all the light and atmosphere changes of summer, autumn, winter and spring—for all the stacks to be reached by the threshing-machines. Grain storage/drying-stacks like these became common throughout Europe in the 19th century and survived until the inception of combine harvesters. The shapes of stacks were regional: in Normandy, where Giverny is situated, it was common for them to be round with quite steeply-pitched thatched 'roofs'—just as Monet painted.The stacks belonged to Monet's farmer-neighbour, Monsieur Quéruel. Noticing the way the light changed on M. Quéruel's stacks, Monet asked his stepdaughter, Blanche Hoschedé, to bring him two canvases, one for sunny and one for overcast conditions. But Monet soon found he could not catch the ever-changing light and mood on merely two canvases: as a result, his willing helper was quickly bringing as many canvases as her wheelbarrow could hold. Monet's daily routine therefore came to involve carting paints, easels and many unfinished canvases back and forth, working on whichever canvas most closely resembled the scene of the moment as the conditions and light fluctuated. Although he began painting the stacks en plein air, Monet later revised his initial impressions in his studio, both to generate contrast and to preserve the harmony within the series.Monet produced numerous Haystacks paintings. He painted five paintings (Wildenstein Index Numbers 1213–1217) with stacks as his primary subject during the 1888 harvest. His earlier landscapes (Wildenstein Index Number 900–995, 1073) had included stacks [and also some more-accurately described hayricks: that is smaller piles of hay for animal-feed] in an ancillary manner. The general consensus is that only the canvases produced using the 1890 harvest (Wildenstein Index Number 1266–1290) comprise the Haystacks series proper. However some commentators include additional paintings when referencing this series. For example, the Hill-Stead Museum talk of their two stack paintings even though one is from the 'proper' 1890 harvest, the other from the 1888 harvest.Monet's Haystacks series is one of his earliest to rely on repetition to illustrate nuances in his perception across natural variations such as times of day, seasons, and types of weather.  For Monet, the concept of producing and exhibiting a series of paintings related by subject and vantage point began in 1889, with at least ten paintings done at the Valley of the Creuse, and subsequently shown at the Galerie Georges Petit. This interest in the serial motif would continue for the rest of his career.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: Explain the Series background of this artwork, Haystacks (Monet series).

The stacks depicted in the series are commonly referred to in English as hay, wheat or grain-stacks. In reality they stored sheafs of grain primarily for bread—so wheat [or possibly barley or oats]—and not hay, an animal food. The 10-to-20-foot (3.0 to 6.1 m) stacks were a way of keeping the sheafs dry until the grain could be separated from the stalks by threshing. The local method of storing and drying unthreshed-grains was to use straw, or sometimes hay, as a thatched 'roof' for the stack, shielding the wheat, barley or oats from the elements until, once dry-enough, they could be threshed. The threshing machines then traveled from village to village. Thus, although the grain was harvested and the stacks were built by July, it often took until the following spring or even later—so through all the light and atmosphere changes of summer, autumn, winter and spring—for all the stacks to be reached by the threshing-machines. Grain storage/drying-stacks like these became common throughout Europe in the 19th century and survived until the inception of combine harvesters. The shapes of stacks were regional: in Normandy, where Giverny is situated, it was common for them to be round with quite steeply-pitched thatched 'roofs'—just as Monet painted.The stacks belonged to Monet's farmer-neighbour, Monsieur Quéruel. Noticing the way the light changed on M. Quéruel's stacks, Monet asked his stepdaughter, Blanche Hoschedé, to bring him two canvases, one for sunny and one for overcast conditions. But Monet soon found he could not catch the ever-changing light and mood on merely two canvases: as a result, his willing helper was quickly bringing as many canvases as her wheelbarrow could hold. Monet's daily routine therefore came to involve carting paints, easels and many unfinished canvases back and forth, working on whichever canvas most closely resembled the scene of the moment as the conditions and light fluctuated. Although he began painting the stacks en plein air, Monet later revised his initial impressions in his studio, both to generate contrast and to preserve the harmony within the series.Monet produced numerous Haystacks paintings. He painted five paintings (Wildenstein Index Numbers 1213–1217) with stacks as his primary subject during the 1888 harvest. His earlier landscapes (Wildenstein Index Number 900–995, 1073) had included stacks [and also some more-accurately described hayricks: that is smaller piles of hay for animal-feed] in an ancillary manner. The general consensus is that only the canvases produced using the 1890 harvest (Wildenstein Index Number 1266–1290) comprise the Haystacks series proper. However some commentators include additional paintings when referencing this series. For example, the Hill-Stead Museum talk of their two stack paintings even though one is from the 'proper' 1890 harvest, the other from the 1888 harvest.Monet's Haystacks series is one of his earliest to rely on repetition to illustrate nuances in his perception across natural variations such as times of day, seasons, and types of weather.  For Monet, the concept of producing and exhibiting a series of paintings related by subject and vantage point began in 1889, with at least ten paintings done at the Valley of the Creuse, and subsequently shown at the Galerie Georges Petit. This interest in the serial motif would continue for the rest of his career.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet


Haystacks (Monet series)

Prompt: How does Haystacks (Monet series) explain its Series background?

The stacks depicted in the series are commonly referred to in English as hay, wheat or grain-stacks. In reality they stored sheafs of grain primarily for bread—so wheat [or possibly barley or oats]—and not hay, an animal food. The 10-to-20-foot (3.0 to 6.1 m) stacks were a way of keeping the sheafs dry until the grain could be separated from the stalks by threshing. The local method of storing and drying unthreshed-grains was to use straw, or sometimes hay, as a thatched 'roof' for the stack, shielding the wheat, barley or oats from the elements until, once dry-enough, they could be threshed. The threshing machines then traveled from village to village. Thus, although the grain was harvested and the stacks were built by July, it often took until the following spring or even later—so through all the light and atmosphere changes of summer, autumn, winter and spring—for all the stacks to be reached by the threshing-machines. Grain storage/drying-stacks like these became common throughout Europe in the 19th century and survived until the inception of combine harvesters. The shapes of stacks were regional: in Normandy, where Giverny is situated, it was common for them to be round with quite steeply-pitched thatched 'roofs'—just as Monet painted.The stacks belonged to Monet's farmer-neighbour, Monsieur Quéruel. Noticing the way the light changed on M. Quéruel's stacks, Monet asked his stepdaughter, Blanche Hoschedé, to bring him two canvases, one for sunny and one for overcast conditions. But Monet soon found he could not catch the ever-changing light and mood on merely two canvases: as a result, his willing helper was quickly bringing as many canvases as her wheelbarrow could hold. Monet's daily routine therefore came to involve carting paints, easels and many unfinished canvases back and forth, working on whichever canvas most closely resembled the scene of the moment as the conditions and light fluctuated. Although he began painting the stacks en plein air, Monet later revised his initial impressions in his studio, both to generate contrast and to preserve the harmony within the series.Monet produced numerous Haystacks paintings. He painted five paintings (Wildenstein Index Numbers 1213–1217) with stacks as his primary subject during the 1888 harvest. His earlier landscapes (Wildenstein Index Number 900–995, 1073) had included stacks [and also some more-accurately described hayricks: that is smaller piles of hay for animal-feed] in an ancillary manner. The general consensus is that only the canvases produced using the 1890 harvest (Wildenstein Index Number 1266–1290) comprise the Haystacks series proper. However some commentators include additional paintings when referencing this series. For example, the Hill-Stead Museum talk of their two stack paintings even though one is from the 'proper' 1890 harvest, the other from the 1888 harvest.Monet's Haystacks series is one of his earliest to rely on repetition to illustrate nuances in his perception across natural variations such as times of day, seasons, and types of weather.  For Monet, the concept of producing and exhibiting a series of paintings related by subject and vantage point began in 1889, with at least ten paintings done at the Valley of the Creuse, and subsequently shown at the Galerie Georges Petit. This interest in the serial motif would continue for the rest of his career.

Category:Paintings in the Art Institute of Chicago

Category:Series of paintings by Claude Monet

''Grainstacks, Snow Effect'', 1890–91, [[National Gallery of Scotland

File:1274 Grainstacks Snow Effect, Meules, effet de neige, 1890-91, 60 x 100cm, Oil on Canvas, Hill-Stead Museum, Farmington, CT.jpg

Category:Paintings in National Galleries Scotland

Category:Paintings in the Musée Marmottan Monet