Sistine Chapel ceiling

Prompt: How does Sistine Chapel ceiling explain its Damage and restoration?

The ceiling had suffered a degree of damage as early as the mid-16th century. In 1797, a gunpowder explosion in the Castel Sant'Angelo damaged part of the Flood fresco and one of the ignudi (the latter being preserved by a drawing by a pupil of Michelangelo).Over the centuries after the ceiling's painting, it became so aged by candle smoke and layers of varnish as to significantly mute the original colours. Some restorations took place in the early and mid-20th century. After preliminary tests taking place in 1979, the ceiling was restored between 1980 and 1992.The first stage of restoration, the work upon Michelangelo's lunettes, was performed between June 1980 and October 1984. The work then proceeded to the ceiling, completed on 31 December 1989, and from there to The Last Judgment. The restoration was unveiled by Pope John Paul II on 8 April 1994.The restoration of the ceiling was directed by Fabrizio Mancinelli and performed by Gianluigi Colalucci, Maurizio Rossi, Pier Giorgio Bonetti, and Bruno Baratti.The restoration has removed the filter of grime to reveal colours closer to the paintings at the time of their completion. The ceiling now appears to depict daytime scenes and a springlike atmosphere with bright saturated colours. The restoration was met with both praise and criticism. Critics assert that much original work by Michelangelo – in particular pentimenti, highlights and shadows, and other detailing painted a secco – was lost in the removal of various accretions.In 2007, the Vatican, anxious at the possibility that the newly restored frescoes would suffer damage, announced plans to reduce visiting hours and raise the price in an attempt to discourage visitors.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: In Sistine Chapel ceiling, how is the Damage and restoration discussed?

The ceiling had suffered a degree of damage as early as the mid-16th century. In 1797, a gunpowder explosion in the Castel Sant'Angelo damaged part of the Flood fresco and one of the ignudi (the latter being preserved by a drawing by a pupil of Michelangelo).Over the centuries after the ceiling's painting, it became so aged by candle smoke and layers of varnish as to significantly mute the original colours. Some restorations took place in the early and mid-20th century. After preliminary tests taking place in 1979, the ceiling was restored between 1980 and 1992.The first stage of restoration, the work upon Michelangelo's lunettes, was performed between June 1980 and October 1984. The work then proceeded to the ceiling, completed on 31 December 1989, and from there to The Last Judgment. The restoration was unveiled by Pope John Paul II on 8 April 1994.The restoration of the ceiling was directed by Fabrizio Mancinelli and performed by Gianluigi Colalucci, Maurizio Rossi, Pier Giorgio Bonetti, and Bruno Baratti.The restoration has removed the filter of grime to reveal colours closer to the paintings at the time of their completion. The ceiling now appears to depict daytime scenes and a springlike atmosphere with bright saturated colours. The restoration was met with both praise and criticism. Critics assert that much original work by Michelangelo – in particular pentimenti, highlights and shadows, and other detailing painted a secco – was lost in the removal of various accretions.In 2007, the Vatican, anxious at the possibility that the newly restored frescoes would suffer damage, announced plans to reduce visiting hours and raise the price in an attempt to discourage visitors.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Focus on Sistine Chapel ceiling and explain the Quotations.

This work has been and truly is the beacon of our art, and it has brought such benefit and enlightenment to the art of painting that it was sufficient to illuminate a world which for so many hundreds of years had remained in the state of darkness. And, to tell the truth, anyone who is a painter no longer needs to concern himself about seeing innovations and inventions, new ways of painting poses, clothing on figures, and various awe-inspiring details, for Michelangelo gave to this work all the perfection that can be given to such details.Without having seen the Sistine Chapel one can form no appreciable idea of what one man is capable of achieving.It seems that Michelangelo, in his own way, allowed himself to be guided by the evocative words of the Book of Genesis which, as regards the creation of the human being, male and female, reveals: "The man and his wife were both naked, yet they felt no shame". The Sistine Chapel is precisely – if one may say so – the sanctuary of the theology of the human body. In witnessing to the beauty of man created by God as male and female, it also expresses in a certain way, the hope of a world transfigured, the world inaugurated by the Risen Christ.In a world where all experience was based in the glorious lost past of Antiquity, he made a new beginning. Michelangelo, more even than Raphael or Leonardo, embodies a standard of artistic genius which reveals a radically changed image of human beings and their potential ...The art critic and television producer Waldemar Januszczak wrote that when the Sistine Chapel ceiling was recently cleaned, he "was able to persuade the man at the Vatican who was in charge of Japanese TV access to let me climb the scaffold while the cleaning was in progress."I sneaked up there a few times. And under the bright, unforgiving lights of television, I was able to encounter the real Michelangelo. I was so close to him I could see the bristles from his brushes caught in the paint; and the mucky thumbprints he'd left along his margins. The first thing that impressed me was his speed. Michelangelo worked at Schumacher pace. ... I also enjoyed his sense of humour, which, from close up, turned out to be refreshingly puerile. If you look closely at the angels who attend the scary prophetess on the Sistine ceiling known as the Cumaean Sibyl, you will see that one of them has stuck his thumb between his fingers in that mysteriously obscene gesture that visiting fans are still treated to today at Italian football matches.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Explain the Quotations of this artwork, Sistine Chapel ceiling.

This work has been and truly is the beacon of our art, and it has brought such benefit and enlightenment to the art of painting that it was sufficient to illuminate a world which for so many hundreds of years had remained in the state of darkness. And, to tell the truth, anyone who is a painter no longer needs to concern himself about seeing innovations and inventions, new ways of painting poses, clothing on figures, and various awe-inspiring details, for Michelangelo gave to this work all the perfection that can be given to such details.Without having seen the Sistine Chapel one can form no appreciable idea of what one man is capable of achieving.It seems that Michelangelo, in his own way, allowed himself to be guided by the evocative words of the Book of Genesis which, as regards the creation of the human being, male and female, reveals: "The man and his wife were both naked, yet they felt no shame". The Sistine Chapel is precisely – if one may say so – the sanctuary of the theology of the human body. In witnessing to the beauty of man created by God as male and female, it also expresses in a certain way, the hope of a world transfigured, the world inaugurated by the Risen Christ.In a world where all experience was based in the glorious lost past of Antiquity, he made a new beginning. Michelangelo, more even than Raphael or Leonardo, embodies a standard of artistic genius which reveals a radically changed image of human beings and their potential ...The art critic and television producer Waldemar Januszczak wrote that when the Sistine Chapel ceiling was recently cleaned, he "was able to persuade the man at the Vatican who was in charge of Japanese TV access to let me climb the scaffold while the cleaning was in progress."I sneaked up there a few times. And under the bright, unforgiving lights of television, I was able to encounter the real Michelangelo. I was so close to him I could see the bristles from his brushes caught in the paint; and the mucky thumbprints he'd left along his margins. The first thing that impressed me was his speed. Michelangelo worked at Schumacher pace. ... I also enjoyed his sense of humour, which, from close up, turned out to be refreshingly puerile. If you look closely at the angels who attend the scary prophetess on the Sistine ceiling known as the Cumaean Sibyl, you will see that one of them has stuck his thumb between his fingers in that mysteriously obscene gesture that visiting fans are still treated to today at Italian football matches.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: How does Sistine Chapel ceiling explain its Quotations?

This work has been and truly is the beacon of our art, and it has brought such benefit and enlightenment to the art of painting that it was sufficient to illuminate a world which for so many hundreds of years had remained in the state of darkness. And, to tell the truth, anyone who is a painter no longer needs to concern himself about seeing innovations and inventions, new ways of painting poses, clothing on figures, and various awe-inspiring details, for Michelangelo gave to this work all the perfection that can be given to such details.Without having seen the Sistine Chapel one can form no appreciable idea of what one man is capable of achieving.It seems that Michelangelo, in his own way, allowed himself to be guided by the evocative words of the Book of Genesis which, as regards the creation of the human being, male and female, reveals: "The man and his wife were both naked, yet they felt no shame". The Sistine Chapel is precisely – if one may say so – the sanctuary of the theology of the human body. In witnessing to the beauty of man created by God as male and female, it also expresses in a certain way, the hope of a world transfigured, the world inaugurated by the Risen Christ.In a world where all experience was based in the glorious lost past of Antiquity, he made a new beginning. Michelangelo, more even than Raphael or Leonardo, embodies a standard of artistic genius which reveals a radically changed image of human beings and their potential ...The art critic and television producer Waldemar Januszczak wrote that when the Sistine Chapel ceiling was recently cleaned, he "was able to persuade the man at the Vatican who was in charge of Japanese TV access to let me climb the scaffold while the cleaning was in progress."I sneaked up there a few times. And under the bright, unforgiving lights of television, I was able to encounter the real Michelangelo. I was so close to him I could see the bristles from his brushes caught in the paint; and the mucky thumbprints he'd left along his margins. The first thing that impressed me was his speed. Michelangelo worked at Schumacher pace. ... I also enjoyed his sense of humour, which, from close up, turned out to be refreshingly puerile. If you look closely at the angels who attend the scary prophetess on the Sistine ceiling known as the Cumaean Sibyl, you will see that one of them has stuck his thumb between his fingers in that mysteriously obscene gesture that visiting fans are still treated to today at Italian football matches.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: In Sistine Chapel ceiling, how is the Quotations discussed?

This work has been and truly is the beacon of our art, and it has brought such benefit and enlightenment to the art of painting that it was sufficient to illuminate a world which for so many hundreds of years had remained in the state of darkness. And, to tell the truth, anyone who is a painter no longer needs to concern himself about seeing innovations and inventions, new ways of painting poses, clothing on figures, and various awe-inspiring details, for Michelangelo gave to this work all the perfection that can be given to such details.Without having seen the Sistine Chapel one can form no appreciable idea of what one man is capable of achieving.It seems that Michelangelo, in his own way, allowed himself to be guided by the evocative words of the Book of Genesis which, as regards the creation of the human being, male and female, reveals: "The man and his wife were both naked, yet they felt no shame". The Sistine Chapel is precisely – if one may say so – the sanctuary of the theology of the human body. In witnessing to the beauty of man created by God as male and female, it also expresses in a certain way, the hope of a world transfigured, the world inaugurated by the Risen Christ.In a world where all experience was based in the glorious lost past of Antiquity, he made a new beginning. Michelangelo, more even than Raphael or Leonardo, embodies a standard of artistic genius which reveals a radically changed image of human beings and their potential ...The art critic and television producer Waldemar Januszczak wrote that when the Sistine Chapel ceiling was recently cleaned, he "was able to persuade the man at the Vatican who was in charge of Japanese TV access to let me climb the scaffold while the cleaning was in progress."I sneaked up there a few times. And under the bright, unforgiving lights of television, I was able to encounter the real Michelangelo. I was so close to him I could see the bristles from his brushes caught in the paint; and the mucky thumbprints he'd left along his margins. The first thing that impressed me was his speed. Michelangelo worked at Schumacher pace. ... I also enjoyed his sense of humour, which, from close up, turned out to be refreshingly puerile. If you look closely at the angels who attend the scary prophetess on the Sistine ceiling known as the Cumaean Sibyl, you will see that one of them has stuck his thumb between his fingers in that mysteriously obscene gesture that visiting fans are still treated to today at Italian football matches.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Les Demoiselles d'Avignon

Prompt: Focus on Les Demoiselles d'Avignon and explain the abstract.

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's  Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Explain the abstract of this artwork, Les Demoiselles d'Avignon.

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's  Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: How does Les Demoiselles d'Avignon explain its abstract?

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's  Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: In Les Demoiselles d'Avignon, how is the abstract discussed?

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's  Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Focus on Les Demoiselles d'Avignon and explain the Background and development.

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques (1905), which recalls the work of Gustave Courbet (1819–1877) and Édouard Manet (1832–1883); and Boy Leading a Horse (1905–06), which recalls Cézanne's Bather (1885–1887) and El Greco's Saint Martin and the Beggar (1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive (African, Micronesian, Native American) art. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Picasso became a favorite of the American art collectors Gertrude Stein and her brother Leo around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse (1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone (1864–1929), and her sister Etta Cone (1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Explain the Background and development of this artwork, Les Demoiselles d'Avignon.

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques (1905), which recalls the work of Gustave Courbet (1819–1877) and Édouard Manet (1832–1883); and Boy Leading a Horse (1905–06), which recalls Cézanne's Bather (1885–1887) and El Greco's Saint Martin and the Beggar (1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive (African, Micronesian, Native American) art. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Picasso became a favorite of the American art collectors Gertrude Stein and her brother Leo around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse (1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone (1864–1929), and her sister Etta Cone (1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: How does Les Demoiselles d'Avignon explain its Background and development?

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques (1905), which recalls the work of Gustave Courbet (1819–1877) and Édouard Manet (1832–1883); and Boy Leading a Horse (1905–06), which recalls Cézanne's Bather (1885–1887) and El Greco's Saint Martin and the Beggar (1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive (African, Micronesian, Native American) art. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Picasso became a favorite of the American art collectors Gertrude Stein and her brother Leo around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse (1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone (1864–1929), and her sister Etta Cone (1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: In Les Demoiselles d'Avignon, how is the Background and development discussed?

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques (1905), which recalls the work of Gustave Courbet (1819–1877) and Édouard Manet (1832–1883); and Boy Leading a Horse (1905–06), which recalls Cézanne's Bather (1885–1887) and El Greco's Saint Martin and the Beggar (1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive (African, Micronesian, Native American) art. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Picasso became a favorite of the American art collectors Gertrude Stein and her brother Leo around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse (1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone (1864–1929), and her sister Etta Cone (1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Focus on Les Demoiselles d'Avignon and explain the Rivalry with Matisse.

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of  "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings,  evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish.Kramer goes on to say,Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. As between the mythological nymphs of Le bonheur de vivre and the grotesque effigies of Les Demoiselles, there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Explain the Rivalry with Matisse of this artwork, Les Demoiselles d'Avignon.

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of  "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings,  evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish.Kramer goes on to say,Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. As between the mythological nymphs of Le bonheur de vivre and the grotesque effigies of Les Demoiselles, there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: How does Les Demoiselles d'Avignon explain its Rivalry with Matisse?

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of  "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings,  evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish.Kramer goes on to say,Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. As between the mythological nymphs of Le bonheur de vivre and the grotesque effigies of Les Demoiselles, there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: In Les Demoiselles d'Avignon, how is the Rivalry with Matisse discussed?

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of  "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings,  evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish.Kramer goes on to say,Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. As between the mythological nymphs of Le bonheur de vivre and the grotesque effigies of Les Demoiselles, there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Focus on Les Demoiselles d'Avignon and explain the Influences.

Picasso created hundreds of sketches and studies in preparation for the final work. He long acknowledged the importance of Spanish art and Iberian sculpture as influences on the painting. The work is believed by critics to be influenced by African tribal masks and the art of Oceania, although Picasso denied the connection; many art historians remain skeptical about his denials. Picasso spent an October 1906 evening closely studying a Teke figure from Congo then owned by Matisse. It was later that night that Picasso's first studies for what would become Les Demoiselles d’Avignon were created. Several experts maintain that, at the very least, Picasso visited the Musée d'Ethnographie du Trocadéro (known later as the Musée de l'Homme) in the spring of 1907 where he saw and sought inspiration from African and other arts shortly before completing Les Demoiselles. He had come to this museum originally to study plaster casts of medieval sculptures, then also considered examples of "primitive" art.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''