Santa Maria in Porto Altarpiece

Prompt: Focus on Santa Maria in Porto Altarpiece and explain the abstract.

The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of the Madonna and Child

Italian campaigns of the French Revolutionary Wars


Santa Maria in Porto Altarpiece

Prompt: Explain the abstract of this artwork, Santa Maria in Porto Altarpiece.

The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of the Madonna and Child

Italian campaigns of the French Revolutionary Wars


Santa Maria in Porto Altarpiece

Prompt: How does Santa Maria in Porto Altarpiece explain its abstract?

The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of the Madonna and Child

Italian campaigns of the French Revolutionary Wars


Santa Maria in Porto Altarpiece

Prompt: In Santa Maria in Porto Altarpiece, how is the abstract discussed?

The Santa Maria in Porto Altarpiece  is a painting by the Italian Renaissance painter Ercole de' Roberti, executed in 1479-1481 and housed in the Pinacoteca di Brera, Milan, northern Italy.It was executed for the church of Santa Maria in Porto, just outside Ravenna. In the 16th century it was moved to the church St. Francis in the same city but, after the Napoleonic invasion of Italy, it was then moved to Milan, being housed at Brera since 1811.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of the Madonna and Child

Italian campaigns of the French Revolutionary Wars


Santa Maria in Porto Altarpiece

Prompt: Focus on Santa Maria in Porto Altarpiece and explain the Description.

The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles (with the Massacre of the Innocents, Adoration of the Magi and the Presentation in the Temple) which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro (below), St. Elizabeth and St. Anne (above, at the sides of the Virgin).The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of the Madonna and Child

Italian campaigns of the French Revolutionary Wars


Santa Maria in Porto Altarpiece

Prompt: Explain the Description of this artwork, Santa Maria in Porto Altarpiece.

The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles (with the Massacre of the Innocents, Adoration of the Magi and the Presentation in the Temple) which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro (below), St. Elizabeth and St. Anne (above, at the sides of the Virgin).The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of the Madonna and Child

Italian campaigns of the French Revolutionary Wars


Santa Maria in Porto Altarpiece

Prompt: How does Santa Maria in Porto Altarpiece explain its Description?

The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles (with the Massacre of the Innocents, Adoration of the Magi and the Presentation in the Temple) which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro (below), St. Elizabeth and St. Anne (above, at the sides of the Virgin).The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of the Madonna and Child

Italian campaigns of the French Revolutionary Wars


Santa Maria in Porto Altarpiece

Prompt: In Santa Maria in Porto Altarpiece, how is the Description discussed?

The painting features a mainly vertical architectural setting, under which a high octagonal podium with the Virgin's throne. The base is decorated by tiles (with the Massacre of the Innocents, Adoration of the Magi and the Presentation in the Temple) which simulated antique bas-reliefs and were inspired by the altar of the Basilica of Saint Anthony of Padua by Donatello.The base supports columns with mouldings and decorations of garlands, dishes and marble rings, while in the background is a stormy sea. The latter is a reference to the legendary foundation of Santa Maria in Porto, when the Crusader Pietro degli Onesti, after escaping a shipwreck, made a vow to entitle a church to the Virgin Mary in exchange for his miraculous salvation.The throne is enclosed in a niche with reliefs, and stands on a carpet. At the sides are red curtains. The four saints are St. Augustine, the blessed Pietro (below), St. Elizabeth and St. Anne (above, at the sides of the Virgin).The whole composition is an example of the pyramidal structure introduced by Antonello da Messina in the Holy Conversation scheme after 1475.

Category:Paintings in the Pinacoteca di Brera

Category:Paintings of the Madonna and Child

Italian campaigns of the French Revolutionary Wars


Still Life (Claesz)

Prompt: Focus on Still Life (Claesz) and explain the abstract.

Still Life is a 1657 oil painting by Pieter Claesz.

Category:Paintings in the Timken Museum of Art


Still Life (Claesz)

Prompt: Explain the abstract of this artwork, Still Life (Claesz).

Still Life is a 1657 oil painting by Pieter Claesz.

Category:Paintings in the Timken Museum of Art


Still Life (Claesz)

Prompt: How does Still Life (Claesz) explain its abstract?

Still Life is a 1657 oil painting by Pieter Claesz.

Category:Paintings in the Timken Museum of Art


Still Life (Claesz)

Prompt: In Still Life (Claesz), how is the abstract discussed?

Still Life is a 1657 oil painting by Pieter Claesz.

Category:Paintings in the Timken Museum of Art


Black Square

Prompt: Focus on Black Square and explain the abstract.

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Explain the abstract of this artwork, Black Square.

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: How does Black Square explain its abstract?

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: In Black Square, how is the abstract discussed?

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Focus on Black Square and explain the Conception.

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Explain the Conception of this artwork, Black Square.

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: How does Black Square explain its Conception?

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: In Black Square, how is the Conception discussed?

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Focus on Black Square and explain the Composition.

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Explain the Composition of this artwork, Black Square.

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: How does Black Square explain its Composition?

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: In Black Square, how is the Composition discussed?

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Focus on Black Square and explain the Interpretation.

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Explain the Interpretation of this artwork, Black Square.

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: How does Black Square explain its Interpretation?

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: In Black Square, how is the Interpretation discussed?

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: In the context of Black Square, explain the Versions and the Interpretation.

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Explain the Versions about the Interpretation of this artwork, Black Square.

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: In Black Square, how is the Versions of the Interpretation explained?

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Describe the characteristics of the Versions in Black Square's Interpretation.

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Focus on Black Square and explain the Influence.

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Explain the Influence of this artwork, Black Square.

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: How does Black Square explain its Influence?

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: In Black Square, how is the Influence discussed?

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Focus on Black Square and explain the Condition.

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Explain the Condition of this artwork, Black Square.

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: How does Black Square explain its Condition?

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Black Square

Prompt: In Black Square, how is the Condition discussed?

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic


Oath of the Horatii

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

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

Oath of the Horatii (French: Le Serment des Horaces) is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown stretching their hands towards their father who holds their swords out of them. Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.It grew to be considered a paragon of neoclassical art. The painting increased David's fame, allowing him to take on his own students.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: Focus on Oath of the Horatii and explain the Commissioning the work.

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

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

List of paintings by Jacques-Louis David

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

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: Explain the Commissioning the work of this artwork, Oath of the Horatii.

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

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

List of paintings by Jacques-Louis David

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

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: How does Oath of the Horatii explain its Commissioning the work?

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

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

List of paintings by Jacques-Louis David

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

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years (1775–1780) in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

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

List of paintings by Jacques-Louis David

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

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: Focus on Oath of the Horatii and explain the Symbolic theme.

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: Explain the Symbolic theme of this artwork, Oath of the Horatii.

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: How does Oath of the Horatii explain its Symbolic theme?

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita (From the Founding of the City) had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon (saluting) their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire:This painting occupies an extremely important place in the body of David’s work and in the history of French painting. The story was taken from Livy. We are in the period of the wars between Rome and Alba, in 669 B.C. It has been decided that the dispute between the two cities must be settled by an unusual form of combat to be fought by two groups of three champions each. The two groups are the three Horatii brothers and the three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii's father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: Focus on Oath of the Horatii and explain the Compositional technique.

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: Explain the Compositional technique of this artwork, Oath of the Horatii.

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David