Alba Madonna

Prompt: Focus on Alba Madonna and explain the Provenance.

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the Sanctuary of Santa Maria dei Miracoli in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married Francisco Álvarez de Toledo y Silva, who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke (1761–1821), then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles (about US$1.1 million).  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Roman Catholic Diocese of Nocera Inferiore-Sarno

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: Explain the Provenance of this artwork, Alba Madonna.

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the Sanctuary of Santa Maria dei Miracoli in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married Francisco Álvarez de Toledo y Silva, who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke (1761–1821), then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles (about US$1.1 million).  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Roman Catholic Diocese of Nocera Inferiore-Sarno

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: How does Alba Madonna explain its Provenance?

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the Sanctuary of Santa Maria dei Miracoli in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married Francisco Álvarez de Toledo y Silva, who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke (1761–1821), then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles (about US$1.1 million).  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Roman Catholic Diocese of Nocera Inferiore-Sarno

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: In Alba Madonna, how is the Provenance discussed?

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the Sanctuary of Santa Maria dei Miracoli in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married Francisco Álvarez de Toledo y Silva, who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke (1761–1821), then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles (about US$1.1 million).  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Roman Catholic Diocese of Nocera Inferiore-Sarno

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


The Alchemist Discovering Phosphorus

Prompt: Focus on The Alchemist Discovering Phosphorus and explain the abstract.

The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Explain the abstract of this artwork, The Alchemist Discovering Phosphorus.

The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: How does The Alchemist Discovering Phosphorus explain its abstract?

The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: In The Alchemist Discovering Phosphorus, how is the abstract discussed?

The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Focus on The Alchemist Discovering Phosphorus and explain the Description.

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".Wright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting (left) of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Explain the Description of this artwork, The Alchemist Discovering Phosphorus.

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".Wright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting (left) of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: How does The Alchemist Discovering Phosphorus explain its Description?

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".Wright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting (left) of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: In The Alchemist Discovering Phosphorus, how is the Description discussed?

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".Wright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting (left) of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Focus on The Alchemist Discovering Phosphorus and explain the History.

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Explain the History of this artwork, The Alchemist Discovering Phosphorus.

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: How does The Alchemist Discovering Phosphorus explain its History?

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: In The Alchemist Discovering Phosphorus, how is the History discussed?

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the abstract.

The Tribute Money (Italian: Cristo della moneta, lit. 'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Category:Collection of the Gemäldegalerie Alte Meister

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the abstract of this artwork, The Tribute Money (Titian).

The Tribute Money (Italian: Cristo della moneta, lit. 'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Category:Collection of the Gemäldegalerie Alte Meister

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its abstract?

The Tribute Money (Italian: Cristo della moneta, lit. 'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Category:Collection of the Gemäldegalerie Alte Meister

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the abstract discussed?

The Tribute Money (Italian: Cristo della moneta, lit. 'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Category:Collection of the Gemäldegalerie Alte Meister

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Subject and purpose.

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara (as it eventually did when Alfonso's grandson died in 1597).  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Subject and purpose of this artwork, The Tribute Money (Titian).

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara (as it eventually did when Alfonso's grandson died in 1597).  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Subject and purpose?

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara (as it eventually did when Alfonso's grandson died in 1597).  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Subject and purpose discussed?

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara (as it eventually did when Alfonso's grandson died in 1597).  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Date and signature.

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait (see below), with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Date and signature of this artwork, The Tribute Money (Titian).

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait (see below), with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Date and signature?

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait (see below), with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Date and signature discussed?

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait (see below), with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Reception and later composition.

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject (now National Gallery), perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Reception and later composition of this artwork, The Tribute Money (Titian).

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject (now National Gallery), perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Reception and later composition?

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject (now National Gallery), perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Reception and later composition discussed?

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject (now National Gallery), perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Context.

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome (Doria Pamphilj Gallery in Rome and other versions), which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers (Royal Collection).

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Context of this artwork, The Tribute Money (Titian).

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome (Doria Pamphilj Gallery in Rome and other versions), which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers (Royal Collection).

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Context?

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome (Doria Pamphilj Gallery in Rome and other versions), which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers (Royal Collection).

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Context discussed?

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome (Doria Pamphilj Gallery in Rome and other versions), which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers (Royal Collection).

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Provenance.

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Provenance of this artwork, The Tribute Money (Titian).

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Provenance?

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Provenance discussed?

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the In literature.

The painting is referred to in George Eliot, Daniel Deronda (ch 40), when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the In literature of this artwork, The Tribute Money (Titian).

The painting is referred to in George Eliot, Daniel Deronda (ch 40), when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its In literature?

The painting is referred to in George Eliot, Daniel Deronda (ch 40), when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the In literature discussed?

The painting is referred to in George Eliot, Daniel Deronda (ch 40), when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


Pesaro Madonna

Prompt: Focus on Pesaro Madonna and explain the abstract.

The Pesaro Madonna (Italian: Pala Pesaro) (better known as the Madonna di Ca' Pesaro) is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today.  Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Explain the abstract of this artwork, Pesaro Madonna.

The Pesaro Madonna (Italian: Pala Pesaro) (better known as the Madonna di Ca' Pesaro) is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today.  Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: How does Pesaro Madonna explain its abstract?

The Pesaro Madonna (Italian: Pala Pesaro) (better known as the Madonna di Ca' Pesaro) is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today.  Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: In Pesaro Madonna, how is the abstract discussed?

The Pesaro Madonna (Italian: Pala Pesaro) (better known as the Madonna di Ca' Pesaro) is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today.  Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Focus on Pesaro Madonna and explain the Aesthetics.

Titian shows his patron in a devotional pose, kneeling before the Virgin and presented to her by Saint Peter.  Prominently displayed on the step is Saint Peter's key; its diagonal plane, leading toward the Virgin, parallels that of Jacopo.  The Virgin's position at the top of the steps alludes to her celestial role as Madonna della Scala (Madonna of the Stairs) and as the Stairway to Heaven. Titian actually used his wife, who died in childbirth soon after, as the model for the Virgin Mary in this work.The large red banner at the far left prominently displays the papal arms in the center and those of Jacopo below. Also displayed is a laurel branch, a symbol of victory.  An unidentified knight has two prisoners in tow, a turbaned Turk and a Moor, probably a reference to Jacopo's victory over the Turks in 1502.  At the right, Saint Francis of Assisi links the five kneeling Pesaro family members to Christ, suggesting that through his own route of identification with Christ's salvation can be achieved.  Just behind Saint Francis is Saint Anthony of Padua - both, like Saint Bernardino, are Franciscans, as is the church of Santa Maria Gloriosa dei Frari.The members of the donor's family are motionless.  All the other figures gesture energetically and occupy diagonal planes.  The steps, surmounted by large columns cut off at the top, are thrust diagonally back into space.  Infant angels appear on the cloud above.  One seen in rear view holds the Cross.  The back of this angel is juxtaposed with the infant Christ, who turns playfully on Mary's lap and looks down at Saint Francis, who returns his gaze.  The fabrics are characteristically rich and textured, particularly the flag and costumes.  This attention to material textures is further enhanced by the variation of bright lights and dark accents in the sky.  The light of Venice, sparkling in its waterways, seems to illuminate this painting.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Explain the Aesthetics of this artwork, Pesaro Madonna.

Titian shows his patron in a devotional pose, kneeling before the Virgin and presented to her by Saint Peter.  Prominently displayed on the step is Saint Peter's key; its diagonal plane, leading toward the Virgin, parallels that of Jacopo.  The Virgin's position at the top of the steps alludes to her celestial role as Madonna della Scala (Madonna of the Stairs) and as the Stairway to Heaven. Titian actually used his wife, who died in childbirth soon after, as the model for the Virgin Mary in this work.The large red banner at the far left prominently displays the papal arms in the center and those of Jacopo below. Also displayed is a laurel branch, a symbol of victory.  An unidentified knight has two prisoners in tow, a turbaned Turk and a Moor, probably a reference to Jacopo's victory over the Turks in 1502.  At the right, Saint Francis of Assisi links the five kneeling Pesaro family members to Christ, suggesting that through his own route of identification with Christ's salvation can be achieved.  Just behind Saint Francis is Saint Anthony of Padua - both, like Saint Bernardino, are Franciscans, as is the church of Santa Maria Gloriosa dei Frari.The members of the donor's family are motionless.  All the other figures gesture energetically and occupy diagonal planes.  The steps, surmounted by large columns cut off at the top, are thrust diagonally back into space.  Infant angels appear on the cloud above.  One seen in rear view holds the Cross.  The back of this angel is juxtaposed with the infant Christ, who turns playfully on Mary's lap and looks down at Saint Francis, who returns his gaze.  The fabrics are characteristically rich and textured, particularly the flag and costumes.  This attention to material textures is further enhanced by the variation of bright lights and dark accents in the sky.  The light of Venice, sparkling in its waterways, seems to illuminate this painting.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: How does Pesaro Madonna explain its Aesthetics?

Titian shows his patron in a devotional pose, kneeling before the Virgin and presented to her by Saint Peter.  Prominently displayed on the step is Saint Peter's key; its diagonal plane, leading toward the Virgin, parallels that of Jacopo.  The Virgin's position at the top of the steps alludes to her celestial role as Madonna della Scala (Madonna of the Stairs) and as the Stairway to Heaven. Titian actually used his wife, who died in childbirth soon after, as the model for the Virgin Mary in this work.The large red banner at the far left prominently displays the papal arms in the center and those of Jacopo below. Also displayed is a laurel branch, a symbol of victory.  An unidentified knight has two prisoners in tow, a turbaned Turk and a Moor, probably a reference to Jacopo's victory over the Turks in 1502.  At the right, Saint Francis of Assisi links the five kneeling Pesaro family members to Christ, suggesting that through his own route of identification with Christ's salvation can be achieved.  Just behind Saint Francis is Saint Anthony of Padua - both, like Saint Bernardino, are Franciscans, as is the church of Santa Maria Gloriosa dei Frari.The members of the donor's family are motionless.  All the other figures gesture energetically and occupy diagonal planes.  The steps, surmounted by large columns cut off at the top, are thrust diagonally back into space.  Infant angels appear on the cloud above.  One seen in rear view holds the Cross.  The back of this angel is juxtaposed with the infant Christ, who turns playfully on Mary's lap and looks down at Saint Francis, who returns his gaze.  The fabrics are characteristically rich and textured, particularly the flag and costumes.  This attention to material textures is further enhanced by the variation of bright lights and dark accents in the sky.  The light of Venice, sparkling in its waterways, seems to illuminate this painting.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: In Pesaro Madonna, how is the Aesthetics discussed?

Titian shows his patron in a devotional pose, kneeling before the Virgin and presented to her by Saint Peter.  Prominently displayed on the step is Saint Peter's key; its diagonal plane, leading toward the Virgin, parallels that of Jacopo.  The Virgin's position at the top of the steps alludes to her celestial role as Madonna della Scala (Madonna of the Stairs) and as the Stairway to Heaven. Titian actually used his wife, who died in childbirth soon after, as the model for the Virgin Mary in this work.The large red banner at the far left prominently displays the papal arms in the center and those of Jacopo below. Also displayed is a laurel branch, a symbol of victory.  An unidentified knight has two prisoners in tow, a turbaned Turk and a Moor, probably a reference to Jacopo's victory over the Turks in 1502.  At the right, Saint Francis of Assisi links the five kneeling Pesaro family members to Christ, suggesting that through his own route of identification with Christ's salvation can be achieved.  Just behind Saint Francis is Saint Anthony of Padua - both, like Saint Bernardino, are Franciscans, as is the church of Santa Maria Gloriosa dei Frari.The members of the donor's family are motionless.  All the other figures gesture energetically and occupy diagonal planes.  The steps, surmounted by large columns cut off at the top, are thrust diagonally back into space.  Infant angels appear on the cloud above.  One seen in rear view holds the Cross.  The back of this angel is juxtaposed with the infant Christ, who turns playfully on Mary's lap and looks down at Saint Francis, who returns his gaze.  The fabrics are characteristically rich and textured, particularly the flag and costumes.  This attention to material textures is further enhanced by the variation of bright lights and dark accents in the sky.  The light of Venice, sparkling in its waterways, seems to illuminate this painting.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Focus on Pesaro Madonna and explain the Composition.

When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques.The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards. These columns in the center of the painting are unprecedented in Renaissance painting, and are the subject of some controversy. X-rays reveal that Titian painted several other architectural elements in their place before settling on the columns.  Some critics have even speculated that Titian did not paint the columns.  The outdoors setting suggests that the activity is taking place in a portico, in which the grandeur of the columns somehow belittles the human beings which leave the figures and the viewer almost in awe of the greater implied force.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Explain the Composition of this artwork, Pesaro Madonna.

When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques.The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards. These columns in the center of the painting are unprecedented in Renaissance painting, and are the subject of some controversy. X-rays reveal that Titian painted several other architectural elements in their place before settling on the columns.  Some critics have even speculated that Titian did not paint the columns.  The outdoors setting suggests that the activity is taking place in a portico, in which the grandeur of the columns somehow belittles the human beings which leave the figures and the viewer almost in awe of the greater implied force.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: How does Pesaro Madonna explain its Composition?

When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques.The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards. These columns in the center of the painting are unprecedented in Renaissance painting, and are the subject of some controversy. X-rays reveal that Titian painted several other architectural elements in their place before settling on the columns.  Some critics have even speculated that Titian did not paint the columns.  The outdoors setting suggests that the activity is taking place in a portico, in which the grandeur of the columns somehow belittles the human beings which leave the figures and the viewer almost in awe of the greater implied force.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: In Pesaro Madonna, how is the Composition discussed?

When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques.The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards. These columns in the center of the painting are unprecedented in Renaissance painting, and are the subject of some controversy. X-rays reveal that Titian painted several other architectural elements in their place before settling on the columns.  Some critics have even speculated that Titian did not paint the columns.  The outdoors setting suggests that the activity is taking place in a portico, in which the grandeur of the columns somehow belittles the human beings which leave the figures and the viewer almost in awe of the greater implied force.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Focus on Pesaro Madonna and explain the Removal and restoration.

Following the May 2012 earthquakes in Northern Italy, Titian's painting was removed from view and began a lengthy conservation treatment funded by the non-profit organization Save Venice Inc. While the painting was being conserved, a replica photograph was displayed in the church. On September 21, 2017, more than 400 people attended a ceremony celebrating the re-installation of Titian's restored altarpiece.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Explain the Removal and restoration of this artwork, Pesaro Madonna.

Following the May 2012 earthquakes in Northern Italy, Titian's painting was removed from view and began a lengthy conservation treatment funded by the non-profit organization Save Venice Inc. While the painting was being conserved, a replica photograph was displayed in the church. On September 21, 2017, more than 400 people attended a ceremony celebrating the re-installation of Titian's restored altarpiece.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: How does Pesaro Madonna explain its Removal and restoration?

Following the May 2012 earthquakes in Northern Italy, Titian's painting was removed from view and began a lengthy conservation treatment funded by the non-profit organization Save Venice Inc. While the painting was being conserved, a replica photograph was displayed in the church. On September 21, 2017, more than 400 people attended a ceremony celebrating the re-installation of Titian's restored altarpiece.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: In Pesaro Madonna, how is the Removal and restoration discussed?

Following the May 2012 earthquakes in Northern Italy, Titian's painting was removed from view and began a lengthy conservation treatment funded by the non-profit organization Save Venice Inc. While the painting was being conserved, a replica photograph was displayed in the church. On September 21, 2017, more than 400 people attended a ceremony celebrating the re-installation of Titian's restored altarpiece.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Girl Interrupted at Her Music

Prompt: Focus on Girl Interrupted at Her Music and explain the abstract.

Girl Interrupted at Her Music (Dutch: Onderbreking van de muziek) is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the abstract of this artwork, Girl Interrupted at Her Music.

Girl Interrupted at Her Music (Dutch: Onderbreking van de muziek) is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: How does Girl Interrupted at Her Music explain its abstract?

Girl Interrupted at Her Music (Dutch: Onderbreking van de muziek) is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the abstract discussed?

Girl Interrupted at Her Music (Dutch: Onderbreking van de muziek) is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In the context of Girl Interrupted at Her Music, explain the Wine glass and the Important objects and symbols.

The wine glass, discreetly shown on the table behind the songbook, is tied with both joyfulness and seduction. In the 17th century it was popular to paint scenes that depicted feasts that included drinking, gaming, and playing music. Later on, these large gatherings became smaller and more exclusive with two or three people shown. Drinking wine was also associated with love during this time period. You can see that the glass is full and untouched, which symbolizes the slow moving relationship between the man and the woman.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the Wine glass about the Important objects and symbols of this artwork, Girl Interrupted at Her Music.

The wine glass, discreetly shown on the table behind the songbook, is tied with both joyfulness and seduction. In the 17th century it was popular to paint scenes that depicted feasts that included drinking, gaming, and playing music. Later on, these large gatherings became smaller and more exclusive with two or three people shown. Drinking wine was also associated with love during this time period. You can see that the glass is full and untouched, which symbolizes the slow moving relationship between the man and the woman.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the Wine glass of the Important objects and symbols explained?

The wine glass, discreetly shown on the table behind the songbook, is tied with both joyfulness and seduction. In the 17th century it was popular to paint scenes that depicted feasts that included drinking, gaming, and playing music. Later on, these large gatherings became smaller and more exclusive with two or three people shown. Drinking wine was also associated with love during this time period. You can see that the glass is full and untouched, which symbolizes the slow moving relationship between the man and the woman.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Describe the characteristics of the Wine glass in Girl Interrupted at Her Music's Important objects and symbols.

The wine glass, discreetly shown on the table behind the songbook, is tied with both joyfulness and seduction. In the 17th century it was popular to paint scenes that depicted feasts that included drinking, gaming, and playing music. Later on, these large gatherings became smaller and more exclusive with two or three people shown. Drinking wine was also associated with love during this time period. You can see that the glass is full and untouched, which symbolizes the slow moving relationship between the man and the woman.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In the context of Girl Interrupted at Her Music, explain the Window and the Important objects and symbols.

On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works (The Music Lesson, The Girl with the Wine Glass, The Glass of Wine, Officer and Laughing Girl, Lady Writing a Letter with her Maid, Woman with a Water Jug, Woman with a Lute, Woman Holding a Balance, and Woman with a Pearl Necklace). Some experts questioned whether this painting was by Vermeer. The precision of the lighting from the window was thought to prove that it was in fact an original Vermeer.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the Window about the Important objects and symbols of this artwork, Girl Interrupted at Her Music.

On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works (The Music Lesson, The Girl with the Wine Glass, The Glass of Wine, Officer and Laughing Girl, Lady Writing a Letter with her Maid, Woman with a Water Jug, Woman with a Lute, Woman Holding a Balance, and Woman with a Pearl Necklace). Some experts questioned whether this painting was by Vermeer. The precision of the lighting from the window was thought to prove that it was in fact an original Vermeer.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the Window of the Important objects and symbols explained?

On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works (The Music Lesson, The Girl with the Wine Glass, The Glass of Wine, Officer and Laughing Girl, Lady Writing a Letter with her Maid, Woman with a Water Jug, Woman with a Lute, Woman Holding a Balance, and Woman with a Pearl Necklace). Some experts questioned whether this painting was by Vermeer. The precision of the lighting from the window was thought to prove that it was in fact an original Vermeer.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Describe the characteristics of the Window in Girl Interrupted at Her Music's Important objects and symbols.

On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works (The Music Lesson, The Girl with the Wine Glass, The Glass of Wine, Officer and Laughing Girl, Lady Writing a Letter with her Maid, Woman with a Water Jug, Woman with a Lute, Woman Holding a Balance, and Woman with a Pearl Necklace). Some experts questioned whether this painting was by Vermeer. The precision of the lighting from the window was thought to prove that it was in fact an original Vermeer.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In the context of Girl Interrupted at Her Music, explain the Chairs and the Important objects and symbols.

The chairs depicted in the painting are thought to have been from Spain. They are some of the few objects in the painting that were not damaged by heavy restoration. You can see the minute details including the lion head carving, the brass studs, and the “lozenge” pattern that were all popular aspects of furniture during the time.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the Chairs about the Important objects and symbols of this artwork, Girl Interrupted at Her Music.

The chairs depicted in the painting are thought to have been from Spain. They are some of the few objects in the painting that were not damaged by heavy restoration. You can see the minute details including the lion head carving, the brass studs, and the “lozenge” pattern that were all popular aspects of furniture during the time.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the Chairs of the Important objects and symbols explained?

The chairs depicted in the painting are thought to have been from Spain. They are some of the few objects in the painting that were not damaged by heavy restoration. You can see the minute details including the lion head carving, the brass studs, and the “lozenge” pattern that were all popular aspects of furniture during the time.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Describe the characteristics of the Chairs in Girl Interrupted at Her Music's Important objects and symbols.

The chairs depicted in the painting are thought to have been from Spain. They are some of the few objects in the painting that were not damaged by heavy restoration. You can see the minute details including the lion head carving, the brass studs, and the “lozenge” pattern that were all popular aspects of furniture during the time.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In the context of Girl Interrupted at Her Music, explain the Painting and the Important objects and symbols.

The hazy painting in the background of the scene is of Cupid. The painting within a painting was discovered after its restoration in 1907; it had been covered up by a wall and a hanging violin. Several observations have been made about the Cupid painting and what it could have to do with the overall painting, including that Cupid may be warning the couple about the dangers of love, that Cupid's upraised hand was a symbol that you must only have one lover, that Cupid is holding up a blank card which represents love as a game, or shows that "love is in the air". The reason for Vermeer including the miniature Cupid painting may never be revealed due to the painting's damaged condition.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the Painting about the Important objects and symbols of this artwork, Girl Interrupted at Her Music.

The hazy painting in the background of the scene is of Cupid. The painting within a painting was discovered after its restoration in 1907; it had been covered up by a wall and a hanging violin. Several observations have been made about the Cupid painting and what it could have to do with the overall painting, including that Cupid may be warning the couple about the dangers of love, that Cupid's upraised hand was a symbol that you must only have one lover, that Cupid is holding up a blank card which represents love as a game, or shows that "love is in the air". The reason for Vermeer including the miniature Cupid painting may never be revealed due to the painting's damaged condition.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the Painting of the Important objects and symbols explained?

The hazy painting in the background of the scene is of Cupid. The painting within a painting was discovered after its restoration in 1907; it had been covered up by a wall and a hanging violin. Several observations have been made about the Cupid painting and what it could have to do with the overall painting, including that Cupid may be warning the couple about the dangers of love, that Cupid's upraised hand was a symbol that you must only have one lover, that Cupid is holding up a blank card which represents love as a game, or shows that "love is in the air". The reason for Vermeer including the miniature Cupid painting may never be revealed due to the painting's damaged condition.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Describe the characteristics of the Painting in Girl Interrupted at Her Music's Important objects and symbols.

The hazy painting in the background of the scene is of Cupid. The painting within a painting was discovered after its restoration in 1907; it had been covered up by a wall and a hanging violin. Several observations have been made about the Cupid painting and what it could have to do with the overall painting, including that Cupid may be warning the couple about the dangers of love, that Cupid's upraised hand was a symbol that you must only have one lover, that Cupid is holding up a blank card which represents love as a game, or shows that "love is in the air". The reason for Vermeer including the miniature Cupid painting may never be revealed due to the painting's damaged condition.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In the context of Girl Interrupted at Her Music, explain the Vase and the Important objects and symbols.

On the table sits a vase made of porcelain and silver, likely used for serving wine. One of the main centers for porcelain in the Netherlands was and still is Delft, although they had "limited success" in recreating Chinese porcelain.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the Vase about the Important objects and symbols of this artwork, Girl Interrupted at Her Music.

On the table sits a vase made of porcelain and silver, likely used for serving wine. One of the main centers for porcelain in the Netherlands was and still is Delft, although they had "limited success" in recreating Chinese porcelain.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the Vase of the Important objects and symbols explained?

On the table sits a vase made of porcelain and silver, likely used for serving wine. One of the main centers for porcelain in the Netherlands was and still is Delft, although they had "limited success" in recreating Chinese porcelain.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Describe the characteristics of the Vase in Girl Interrupted at Her Music's Important objects and symbols.

On the table sits a vase made of porcelain and silver, likely used for serving wine. One of the main centers for porcelain in the Netherlands was and still is Delft, although they had "limited success" in recreating Chinese porcelain.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In the context of Girl Interrupted at Her Music, explain the Man and the Important objects and symbols.

The man in the painting is likely upper class, due to his fashionable attire.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the Man about the Important objects and symbols of this artwork, Girl Interrupted at Her Music.

The man in the painting is likely upper class, due to his fashionable attire.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the Man of the Important objects and symbols explained?

The man in the painting is likely upper class, due to his fashionable attire.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Describe the characteristics of the Man in Girl Interrupted at Her Music's Important objects and symbols.

The man in the painting is likely upper class, due to his fashionable attire.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In the context of Girl Interrupted at Her Music, explain the Music and the Important objects and symbols.

Love and music often went hand in hand in the 17th century, especially with the presence of a musical duet between a man and a woman. Playing music with one another was one of the few activities where young people of the opposite sex could socialize. The two in the painting were likely part of the haute bourgeoisie, which meant that they were worldly and educated when it came to music, and each likely had a personal collection of songbooks.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Explain the Music about the Important objects and symbols of this artwork, Girl Interrupted at Her Music.

Love and music often went hand in hand in the 17th century, especially with the presence of a musical duet between a man and a woman. Playing music with one another was one of the few activities where young people of the opposite sex could socialize. The two in the painting were likely part of the haute bourgeoisie, which meant that they were worldly and educated when it came to music, and each likely had a personal collection of songbooks.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: In Girl Interrupted at Her Music, how is the Music of the Important objects and symbols explained?

Love and music often went hand in hand in the 17th century, especially with the presence of a musical duet between a man and a woman. Playing music with one another was one of the few activities where young people of the opposite sex could socialize. The two in the painting were likely part of the haute bourgeoisie, which meant that they were worldly and educated when it came to music, and each likely had a personal collection of songbooks.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Describe the characteristics of the Music in Girl Interrupted at Her Music's Important objects and symbols.

Love and music often went hand in hand in the 17th century, especially with the presence of a musical duet between a man and a woman. Playing music with one another was one of the few activities where young people of the opposite sex could socialize. The two in the painting were likely part of the haute bourgeoisie, which meant that they were worldly and educated when it came to music, and each likely had a personal collection of songbooks.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer


Girl Interrupted at Her Music

Prompt: Focus on Girl Interrupted at Her Music and explain the Cultural references.

The painting is a theme in the book Girl, Interrupted by Susanna Kaysen, the title of that book being based on the title of the painting.

Category:Paintings in the Frick Collection

Category:Genre paintings by Johannes Vermeer