Saint Jerome in His Study (Dürer)

Prompt: In Saint Jerome in His Study (Dürer), how is the abstract discussed?

Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints.St. Jerome in His Study is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known Melencolia I (1514) and  Knight, Death and the Devil (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" (94).  Art historian Erwin Panofsky comments on the perspective:The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. (Qtd. in Puttfarken, 94)

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: Focus on Saint Jerome in His Study (Dürer) and explain the Jonah and the gourd vine.

Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy with St. Augustine in his preference for Greek over Latin nomenclature for the fast-growing plant known in Hebrew as קיקיון (qiyqayown) encountered only this once, in the Book of Jonah. The Old Testament text closes abruptly (Jonah 4) with an epistolary warning based on the emblematic trope of a fast-growing vine present in Persian narratives, and popularized widely in certain collections of Aesop's fables such as The Gourd and the Palm-tree. Jerome elected to use hedera (from the Greek, meaning ivy) over the more common Latin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine, you are the branches". In fact Augustine's view had already prevailed by Dürer's time.

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: Explain the Jonah and the gourd vine of this artwork, Saint Jerome in His Study (Dürer).

Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy with St. Augustine in his preference for Greek over Latin nomenclature for the fast-growing plant known in Hebrew as קיקיון (qiyqayown) encountered only this once, in the Book of Jonah. The Old Testament text closes abruptly (Jonah 4) with an epistolary warning based on the emblematic trope of a fast-growing vine present in Persian narratives, and popularized widely in certain collections of Aesop's fables such as The Gourd and the Palm-tree. Jerome elected to use hedera (from the Greek, meaning ivy) over the more common Latin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine, you are the branches". In fact Augustine's view had already prevailed by Dürer's time.

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: How does Saint Jerome in His Study (Dürer) explain its Jonah and the gourd vine?

Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy with St. Augustine in his preference for Greek over Latin nomenclature for the fast-growing plant known in Hebrew as קיקיון (qiyqayown) encountered only this once, in the Book of Jonah. The Old Testament text closes abruptly (Jonah 4) with an epistolary warning based on the emblematic trope of a fast-growing vine present in Persian narratives, and popularized widely in certain collections of Aesop's fables such as The Gourd and the Palm-tree. Jerome elected to use hedera (from the Greek, meaning ivy) over the more common Latin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine, you are the branches". In fact Augustine's view had already prevailed by Dürer's time.

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: In Saint Jerome in His Study (Dürer), how is the Jonah and the gourd vine discussed?

Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy with St. Augustine in his preference for Greek over Latin nomenclature for the fast-growing plant known in Hebrew as קיקיון (qiyqayown) encountered only this once, in the Book of Jonah. The Old Testament text closes abruptly (Jonah 4) with an epistolary warning based on the emblematic trope of a fast-growing vine present in Persian narratives, and popularized widely in certain collections of Aesop's fables such as The Gourd and the Palm-tree. Jerome elected to use hedera (from the Greek, meaning ivy) over the more common Latin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine, you are the branches". In fact Augustine's view had already prevailed by Dürer's time.

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: Focus on Saint Jerome in His Study (Dürer) and explain the Skull and Crucifix, and the Hourglass.

The positioning of the Crucifix on Jerome's desk is such that when he looks at it he can also see the skull by the window. Looking at the crucifix reminds of the resurrection of Jesus, which righted the wrongs of Adam leading to death, represented by the skull. The hourglass represents the finite space of time that is a man's life. Viewing these symbols together leads to the thought of man's mortality, and the method by which to save the immortal soul.

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: Explain the Skull and Crucifix, and the Hourglass of this artwork, Saint Jerome in His Study (Dürer).

The positioning of the Crucifix on Jerome's desk is such that when he looks at it he can also see the skull by the window. Looking at the crucifix reminds of the resurrection of Jesus, which righted the wrongs of Adam leading to death, represented by the skull. The hourglass represents the finite space of time that is a man's life. Viewing these symbols together leads to the thought of man's mortality, and the method by which to save the immortal soul.

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: How does Saint Jerome in His Study (Dürer) explain its Skull and Crucifix, and the Hourglass?

The positioning of the Crucifix on Jerome's desk is such that when he looks at it he can also see the skull by the window. Looking at the crucifix reminds of the resurrection of Jesus, which righted the wrongs of Adam leading to death, represented by the skull. The hourglass represents the finite space of time that is a man's life. Viewing these symbols together leads to the thought of man's mortality, and the method by which to save the immortal soul.

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Saint Jerome in His Study (Dürer)

Prompt: In Saint Jerome in His Study (Dürer), how is the Skull and Crucifix, and the Hourglass discussed?

The positioning of the Crucifix on Jerome's desk is such that when he looks at it he can also see the skull by the window. Looking at the crucifix reminds of the resurrection of Jesus, which righted the wrongs of Adam leading to death, represented by the skull. The hourglass represents the finite space of time that is a man's life. Viewing these symbols together leads to the thought of man's mortality, and the method by which to save the immortal soul.

:it:File:Christ the True Vine icon (Athens, 16th century).jpg

''"I am the Vine, you are the branches"''


Het Pelsken

Prompt: Focus on Het Pelsken and explain the abstract.

The Fur or The Pelt (Dutch: Het Pelsken), also called The Little Fur (German: Das Pelzchen; French: La Petite Pelisse), or Helena Fourment in a Fur Robe, is a c. 1636–1638 portrait by Peter Paul Rubens of his second wife Helena Fourment getting out of her bath and wrapping her voluptuous body in a fur. It is now in the Kunsthistorisches Museum in Vienna.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Explain the abstract of this artwork, Het Pelsken.

The Fur or The Pelt (Dutch: Het Pelsken), also called The Little Fur (German: Das Pelzchen; French: La Petite Pelisse), or Helena Fourment in a Fur Robe, is a c. 1636–1638 portrait by Peter Paul Rubens of his second wife Helena Fourment getting out of her bath and wrapping her voluptuous body in a fur. It is now in the Kunsthistorisches Museum in Vienna.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: How does Het Pelsken explain its abstract?

The Fur or The Pelt (Dutch: Het Pelsken), also called The Little Fur (German: Das Pelzchen; French: La Petite Pelisse), or Helena Fourment in a Fur Robe, is a c. 1636–1638 portrait by Peter Paul Rubens of his second wife Helena Fourment getting out of her bath and wrapping her voluptuous body in a fur. It is now in the Kunsthistorisches Museum in Vienna.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: In Het Pelsken, how is the abstract discussed?

The Fur or The Pelt (Dutch: Het Pelsken), also called The Little Fur (German: Das Pelzchen; French: La Petite Pelisse), or Helena Fourment in a Fur Robe, is a c. 1636–1638 portrait by Peter Paul Rubens of his second wife Helena Fourment getting out of her bath and wrapping her voluptuous body in a fur. It is now in the Kunsthistorisches Museum in Vienna.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Focus on Het Pelsken and explain the Description.

In this life-size portrait of Helena Fourment at the age of eighteen; her figure is wrapped only in a short mantle of black fur, loosely gathered round her shoulders and hips. Helena is represented standing, coming from the bath, half wrapped in the fur-trimmed cloak that gives its name to the picture, and imperfectly hides her nudity. The head is turned to the spectator, and according to Émile Michel "the countenance exhibits no sign of embarrassment or shame." Her breasts are pressed together and raised up by her right arm; her small, shapely left hand holds up a fold of the thick pelisse over her belly.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Explain the Description of this artwork, Het Pelsken.

In this life-size portrait of Helena Fourment at the age of eighteen; her figure is wrapped only in a short mantle of black fur, loosely gathered round her shoulders and hips. Helena is represented standing, coming from the bath, half wrapped in the fur-trimmed cloak that gives its name to the picture, and imperfectly hides her nudity. The head is turned to the spectator, and according to Émile Michel "the countenance exhibits no sign of embarrassment or shame." Her breasts are pressed together and raised up by her right arm; her small, shapely left hand holds up a fold of the thick pelisse over her belly.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: How does Het Pelsken explain its Description?

In this life-size portrait of Helena Fourment at the age of eighteen; her figure is wrapped only in a short mantle of black fur, loosely gathered round her shoulders and hips. Helena is represented standing, coming from the bath, half wrapped in the fur-trimmed cloak that gives its name to the picture, and imperfectly hides her nudity. The head is turned to the spectator, and according to Émile Michel "the countenance exhibits no sign of embarrassment or shame." Her breasts are pressed together and raised up by her right arm; her small, shapely left hand holds up a fold of the thick pelisse over her belly.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: In Het Pelsken, how is the Description discussed?

In this life-size portrait of Helena Fourment at the age of eighteen; her figure is wrapped only in a short mantle of black fur, loosely gathered round her shoulders and hips. Helena is represented standing, coming from the bath, half wrapped in the fur-trimmed cloak that gives its name to the picture, and imperfectly hides her nudity. The head is turned to the spectator, and according to Émile Michel "the countenance exhibits no sign of embarrassment or shame." Her breasts are pressed together and raised up by her right arm; her small, shapely left hand holds up a fold of the thick pelisse over her belly.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Focus on Het Pelsken and explain the Analysis.

Her pose recalls the Venus pudica (lit. 'modest Venus') of Graeco-Roman sculpture, in which the goddess is shown nude as she prepares to bathe, discarding her drapery with one hand, while modestly shielding herself with the other. Another antecedent is Titian's Girl in a Fur, which Rubens knew. He even made a copy of the Titian, having seen it in the collection of Charles I in England. The execution of contrasting soft white flesh and rich dark fur has been praised in both paintings. Michel writes of this effect in the Rubens picture, "The frank black of the pelisse, the red of the carpet, and the brown of the background set off the brown of the background set off the brilliance of the flesh-tints". Unlike Titian, who idealises his figure, Rubens depicts dimpled knees and folds of flesh and combines classicism with realism. Michel sees this as a fault, and writes, "The portrait is too exact, for inelegant forms are faithfully copied. The flesh lacks its former firmness, and clear traces of the compression of the bodice on the torso, and of the garters on the legs with their too perceptible knee-pans may be detected." However, other critics have praised this quality in Rubens; as Andrew Morrall notes, "Neither simply a portrait nor purely an image of a mythological deity, this intensely private work has ironically become one of the most celebrated erotic images in Western art."

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Explain the Analysis of this artwork, Het Pelsken.

Her pose recalls the Venus pudica (lit. 'modest Venus') of Graeco-Roman sculpture, in which the goddess is shown nude as she prepares to bathe, discarding her drapery with one hand, while modestly shielding herself with the other. Another antecedent is Titian's Girl in a Fur, which Rubens knew. He even made a copy of the Titian, having seen it in the collection of Charles I in England. The execution of contrasting soft white flesh and rich dark fur has been praised in both paintings. Michel writes of this effect in the Rubens picture, "The frank black of the pelisse, the red of the carpet, and the brown of the background set off the brown of the background set off the brilliance of the flesh-tints". Unlike Titian, who idealises his figure, Rubens depicts dimpled knees and folds of flesh and combines classicism with realism. Michel sees this as a fault, and writes, "The portrait is too exact, for inelegant forms are faithfully copied. The flesh lacks its former firmness, and clear traces of the compression of the bodice on the torso, and of the garters on the legs with their too perceptible knee-pans may be detected." However, other critics have praised this quality in Rubens; as Andrew Morrall notes, "Neither simply a portrait nor purely an image of a mythological deity, this intensely private work has ironically become one of the most celebrated erotic images in Western art."

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: How does Het Pelsken explain its Analysis?

Her pose recalls the Venus pudica (lit. 'modest Venus') of Graeco-Roman sculpture, in which the goddess is shown nude as she prepares to bathe, discarding her drapery with one hand, while modestly shielding herself with the other. Another antecedent is Titian's Girl in a Fur, which Rubens knew. He even made a copy of the Titian, having seen it in the collection of Charles I in England. The execution of contrasting soft white flesh and rich dark fur has been praised in both paintings. Michel writes of this effect in the Rubens picture, "The frank black of the pelisse, the red of the carpet, and the brown of the background set off the brown of the background set off the brilliance of the flesh-tints". Unlike Titian, who idealises his figure, Rubens depicts dimpled knees and folds of flesh and combines classicism with realism. Michel sees this as a fault, and writes, "The portrait is too exact, for inelegant forms are faithfully copied. The flesh lacks its former firmness, and clear traces of the compression of the bodice on the torso, and of the garters on the legs with their too perceptible knee-pans may be detected." However, other critics have praised this quality in Rubens; as Andrew Morrall notes, "Neither simply a portrait nor purely an image of a mythological deity, this intensely private work has ironically become one of the most celebrated erotic images in Western art."

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: In Het Pelsken, how is the Analysis discussed?

Her pose recalls the Venus pudica (lit. 'modest Venus') of Graeco-Roman sculpture, in which the goddess is shown nude as she prepares to bathe, discarding her drapery with one hand, while modestly shielding herself with the other. Another antecedent is Titian's Girl in a Fur, which Rubens knew. He even made a copy of the Titian, having seen it in the collection of Charles I in England. The execution of contrasting soft white flesh and rich dark fur has been praised in both paintings. Michel writes of this effect in the Rubens picture, "The frank black of the pelisse, the red of the carpet, and the brown of the background set off the brown of the background set off the brilliance of the flesh-tints". Unlike Titian, who idealises his figure, Rubens depicts dimpled knees and folds of flesh and combines classicism with realism. Michel sees this as a fault, and writes, "The portrait is too exact, for inelegant forms are faithfully copied. The flesh lacks its former firmness, and clear traces of the compression of the bodice on the torso, and of the garters on the legs with their too perceptible knee-pans may be detected." However, other critics have praised this quality in Rubens; as Andrew Morrall notes, "Neither simply a portrait nor purely an image of a mythological deity, this intensely private work has ironically become one of the most celebrated erotic images in Western art."

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Focus on Het Pelsken and explain the History.

According to art historian Louis Hourticq, Rubens was too much in love with his young wife to hesitate to celebrate her beauty in his art. He surprised her one day on the way to her bath, and she yielded to her husband's fancy for painting her as she was. She would be quite naked but for the fur mantle thrown across her shoulders, which she holds in place with a charm. A tradition reported by Michel says that after Rubens died Madame Rubens hesitated to offer some of his pictures for sale, and a special clause in his will gave The Little Fur Coat to her as a personal gift.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Explain the History of this artwork, Het Pelsken.

According to art historian Louis Hourticq, Rubens was too much in love with his young wife to hesitate to celebrate her beauty in his art. He surprised her one day on the way to her bath, and she yielded to her husband's fancy for painting her as she was. She would be quite naked but for the fur mantle thrown across her shoulders, which she holds in place with a charm. A tradition reported by Michel says that after Rubens died Madame Rubens hesitated to offer some of his pictures for sale, and a special clause in his will gave The Little Fur Coat to her as a personal gift.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: How does Het Pelsken explain its History?

According to art historian Louis Hourticq, Rubens was too much in love with his young wife to hesitate to celebrate her beauty in his art. He surprised her one day on the way to her bath, and she yielded to her husband's fancy for painting her as she was. She would be quite naked but for the fur mantle thrown across her shoulders, which she holds in place with a charm. A tradition reported by Michel says that after Rubens died Madame Rubens hesitated to offer some of his pictures for sale, and a special clause in his will gave The Little Fur Coat to her as a personal gift.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: In Het Pelsken, how is the History discussed?

According to art historian Louis Hourticq, Rubens was too much in love with his young wife to hesitate to celebrate her beauty in his art. He surprised her one day on the way to her bath, and she yielded to her husband's fancy for painting her as she was. She would be quite naked but for the fur mantle thrown across her shoulders, which she holds in place with a charm. A tradition reported by Michel says that after Rubens died Madame Rubens hesitated to offer some of his pictures for sale, and a special clause in his will gave The Little Fur Coat to her as a personal gift.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Focus on Het Pelsken and explain the Provenance.

Mentioned in the will of Peter Paul Rubens in 1640;Mentioned in the will of Helena Fourment in 1658;Documented as being in the gallery in Vienna in 1730.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: Explain the Provenance of this artwork, Het Pelsken.

Mentioned in the will of Peter Paul Rubens in 1640;Mentioned in the will of Helena Fourment in 1658;Documented as being in the gallery in Vienna in 1730.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: How does Het Pelsken explain its Provenance?

Mentioned in the will of Peter Paul Rubens in 1640;Mentioned in the will of Helena Fourment in 1658;Documented as being in the gallery in Vienna in 1730.

Category:Paintings in the Kunsthistorisches Museum


Het Pelsken

Prompt: In Het Pelsken, how is the Provenance discussed?

Mentioned in the will of Peter Paul Rubens in 1640;Mentioned in the will of Helena Fourment in 1658;Documented as being in the gallery in Vienna in 1730.

Category:Paintings in the Kunsthistorisches Museum


Girls at the Piano

Prompt: Focus on Girls at the Piano and explain the abstract.

Young Girls at the Piano (French: Jeunes filles au piano) is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting represents his late work period (1892–1919). It was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art in New York, and the Musée de l'Orangerie in Paris.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: Explain the abstract of this artwork, Girls at the Piano.

Young Girls at the Piano (French: Jeunes filles au piano) is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting represents his late work period (1892–1919). It was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art in New York, and the Musée de l'Orangerie in Paris.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: How does Girls at the Piano explain its abstract?

Young Girls at the Piano (French: Jeunes filles au piano) is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting represents his late work period (1892–1919). It was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art in New York, and the Musée de l'Orangerie in Paris.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: In Girls at the Piano, how is the abstract discussed?

Young Girls at the Piano (French: Jeunes filles au piano) is an oil-on-canvas painting by French artist Pierre-Auguste Renoir, a leading painter in the development of the Impressionist style. The painting represents his late work period (1892–1919). It was completed in 1892 as an informal commission for the Musée du Luxembourg. Renoir painted three other variations of this composition in oil and two sketches, one in oil and one in pastel. Known by the artist as repetitions, they were executed to fulfill commissions from dealers and collectors. The work is on public display at the Musée d'Orsay in Paris, Metropolitan Museum of Art in New York, and the Musée de l'Orangerie in Paris.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: Focus on Girls at the Piano and explain the Description.

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: Explain the Description of this artwork, Girls at the Piano.

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: How does Girls at the Piano explain its Description?

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: In Girls at the Piano, how is the Description discussed?

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Oddi Altarpiece (Raphael)

Prompt: Focus on Oddi Altarpiece (Raphael) and explain the abstract.

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797 (for the Musée Napoleon) and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca.The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Explain the abstract of this artwork, Oddi Altarpiece (Raphael).

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797 (for the Musée Napoleon) and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca.The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: How does Oddi Altarpiece (Raphael) explain its abstract?

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797 (for the Musée Napoleon) and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca.The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: In Oddi Altarpiece (Raphael), how is the abstract discussed?

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797 (for the Musée Napoleon) and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca.The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Focus on Oddi Altarpiece (Raphael) and explain the The crowning of the Virgin.

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Explain the The crowning of the Virgin of this artwork, Oddi Altarpiece (Raphael).

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: How does Oddi Altarpiece (Raphael) explain its The crowning of the Virgin?

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: In Oddi Altarpiece (Raphael), how is the The crowning of the Virgin discussed?

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Focus on Oddi Altarpiece (Raphael) and explain the The predella.

The predella (39 × 190 cm) is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Explain the The predella of this artwork, Oddi Altarpiece (Raphael).

The predella (39 × 190 cm) is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: How does Oddi Altarpiece (Raphael) explain its The predella?

The predella (39 × 190 cm) is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: In Oddi Altarpiece (Raphael), how is the The predella discussed?

The predella (39 × 190 cm) is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Jupiter, Neptune and Pluto

Prompt: Focus on Jupiter, Neptune and Pluto and explain the abstract.

Jupiter, Neptune and Pluto (c. 1597) is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes (incorrectly) referred to as such. Oil painting is normally on canvas or, less frequently, on wood.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: Explain the abstract of this artwork, Jupiter, Neptune and Pluto.

Jupiter, Neptune and Pluto (c. 1597) is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes (incorrectly) referred to as such. Oil painting is normally on canvas or, less frequently, on wood.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: How does Jupiter, Neptune and Pluto explain its abstract?

Jupiter, Neptune and Pluto (c. 1597) is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes (incorrectly) referred to as such. Oil painting is normally on canvas or, less frequently, on wood.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: In Jupiter, Neptune and Pluto, how is the abstract discussed?

Jupiter, Neptune and Pluto (c. 1597) is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes (incorrectly) referred to as such. Oil painting is normally on canvas or, less frequently, on wood.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: Focus on Jupiter, Neptune and Pluto and explain the Context.

According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: Explain the Context of this artwork, Jupiter, Neptune and Pluto.

According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: How does Jupiter, Neptune and Pluto explain its Context?

According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: In Jupiter, Neptune and Pluto, how is the Context discussed?

According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: Focus on Jupiter, Neptune and Pluto and explain the Description.

For a more in-depth description and analysis, see the article at Caravaggio.org.Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: Explain the Description of this artwork, Jupiter, Neptune and Pluto.

For a more in-depth description and analysis, see the article at Caravaggio.org.Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: How does Jupiter, Neptune and Pluto explain its Description?

For a more in-depth description and analysis, see the article at Caravaggio.org.Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: In Jupiter, Neptune and Pluto, how is the Description discussed?

For a more in-depth description and analysis, see the article at Caravaggio.org.Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: Focus on Jupiter, Neptune and Pluto and explain the History.

The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount (minimum offer) on April 7, 2022.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: Explain the History of this artwork, Jupiter, Neptune and Pluto.

The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount (minimum offer) on April 7, 2022.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: How does Jupiter, Neptune and Pluto explain its History?

The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount (minimum offer) on April 7, 2022.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Jupiter, Neptune and Pluto

Prompt: In Jupiter, Neptune and Pluto, how is the History discussed?

The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount (minimum offer) on April 7, 2022.

Category:Paintings of Jupiter (mythology)

Category:Mythological paintings by Caravaggio


Manchester Madonna

Prompt: Focus on Manchester Madonna and explain the abstract.

The Madonna and Child with St John and Angels (c. 1497), also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. It is one of three surviving panel paintings attributed to the artist and has been dated to his first period in Rome. The work first came to public attention in the Art Treasures Exhibition in Manchester in 1857, hence the title the "Manchester Madonna". Attribution of the painting to Michelangelo was in doubt for much of the nineteenth and twentieth centuries, but now most scholars are in agreement.Like other Renaissance paintings of the Madonna and Child that include John the Baptist, the subject arises from a non-Biblical tradition that the Virgin Mary and the Child Jesus met Christ's cousin, St John the Baptist, on the Holy Family's Flight into Egypt. The Virgin is depicted with one breast bared, as if she has recently been suckling her infant son, which recalls the theme of the Virgin breastfeeding which was common in medieval painting. In her hands is a book (traditionally Isaiah chapter 53) which she attempts to hold away from her son, the contents of which probably foretell his future sacrifice and his taking to himself the evil of the world. She looks over her left shoulder to a scroll being read by a pair of angels, which is likely to read Ecce Agnus Dei ("Behold the Lamb of God"), usually an attribute of John the Baptist. The figures are arranged as if in a frieze, revealing Michelangelo's sculptor's mindset. The frieze becomes more convex at its centre, with the figures of Virgin and Child, as in the later Pitti Tondo. Another similarity to relief sculpture is in the plain background: rather than the landscapes more common for exterior settings, Michelangelo has simply painted an expanse of sky. He also eschewes the richly decorated throne typical of sacra conversazione altarpieces, and de-emphasises the angels' wings.Many areas of the painting are in a preliminary state. The black of the Virgin's robe was meant to be overpainted with the rich blue pigment, lapis lazuli, and the angels on the left are indicated only by the green underpaint used for flesh tones in a kind of non finito.

Category:Paintings in the Borghese Collection

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

Category:Religious paintings by Michelangelo

Art Treasures Exhibition, Manchester 1857


Manchester Madonna

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

The Madonna and Child with St John and Angels (c. 1497), also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. It is one of three surviving panel paintings attributed to the artist and has been dated to his first period in Rome. The work first came to public attention in the Art Treasures Exhibition in Manchester in 1857, hence the title the "Manchester Madonna". Attribution of the painting to Michelangelo was in doubt for much of the nineteenth and twentieth centuries, but now most scholars are in agreement.Like other Renaissance paintings of the Madonna and Child that include John the Baptist, the subject arises from a non-Biblical tradition that the Virgin Mary and the Child Jesus met Christ's cousin, St John the Baptist, on the Holy Family's Flight into Egypt. The Virgin is depicted with one breast bared, as if she has recently been suckling her infant son, which recalls the theme of the Virgin breastfeeding which was common in medieval painting. In her hands is a book (traditionally Isaiah chapter 53) which she attempts to hold away from her son, the contents of which probably foretell his future sacrifice and his taking to himself the evil of the world. She looks over her left shoulder to a scroll being read by a pair of angels, which is likely to read Ecce Agnus Dei ("Behold the Lamb of God"), usually an attribute of John the Baptist. The figures are arranged as if in a frieze, revealing Michelangelo's sculptor's mindset. The frieze becomes more convex at its centre, with the figures of Virgin and Child, as in the later Pitti Tondo. Another similarity to relief sculpture is in the plain background: rather than the landscapes more common for exterior settings, Michelangelo has simply painted an expanse of sky. He also eschewes the richly decorated throne typical of sacra conversazione altarpieces, and de-emphasises the angels' wings.Many areas of the painting are in a preliminary state. The black of the Virgin's robe was meant to be overpainted with the rich blue pigment, lapis lazuli, and the angels on the left are indicated only by the green underpaint used for flesh tones in a kind of non finito.

Category:Paintings in the Borghese Collection

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

Category:Religious paintings by Michelangelo

Art Treasures Exhibition, Manchester 1857


Manchester Madonna

Prompt: How does Manchester Madonna explain its abstract?

The Madonna and Child with St John and Angels (c. 1497), also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. It is one of three surviving panel paintings attributed to the artist and has been dated to his first period in Rome. The work first came to public attention in the Art Treasures Exhibition in Manchester in 1857, hence the title the "Manchester Madonna". Attribution of the painting to Michelangelo was in doubt for much of the nineteenth and twentieth centuries, but now most scholars are in agreement.Like other Renaissance paintings of the Madonna and Child that include John the Baptist, the subject arises from a non-Biblical tradition that the Virgin Mary and the Child Jesus met Christ's cousin, St John the Baptist, on the Holy Family's Flight into Egypt. The Virgin is depicted with one breast bared, as if she has recently been suckling her infant son, which recalls the theme of the Virgin breastfeeding which was common in medieval painting. In her hands is a book (traditionally Isaiah chapter 53) which she attempts to hold away from her son, the contents of which probably foretell his future sacrifice and his taking to himself the evil of the world. She looks over her left shoulder to a scroll being read by a pair of angels, which is likely to read Ecce Agnus Dei ("Behold the Lamb of God"), usually an attribute of John the Baptist. The figures are arranged as if in a frieze, revealing Michelangelo's sculptor's mindset. The frieze becomes more convex at its centre, with the figures of Virgin and Child, as in the later Pitti Tondo. Another similarity to relief sculpture is in the plain background: rather than the landscapes more common for exterior settings, Michelangelo has simply painted an expanse of sky. He also eschewes the richly decorated throne typical of sacra conversazione altarpieces, and de-emphasises the angels' wings.Many areas of the painting are in a preliminary state. The black of the Virgin's robe was meant to be overpainted with the rich blue pigment, lapis lazuli, and the angels on the left are indicated only by the green underpaint used for flesh tones in a kind of non finito.

Category:Paintings in the Borghese Collection

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

Category:Religious paintings by Michelangelo

Art Treasures Exhibition, Manchester 1857


Manchester Madonna

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

The Madonna and Child with St John and Angels (c. 1497), also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. It is one of three surviving panel paintings attributed to the artist and has been dated to his first period in Rome. The work first came to public attention in the Art Treasures Exhibition in Manchester in 1857, hence the title the "Manchester Madonna". Attribution of the painting to Michelangelo was in doubt for much of the nineteenth and twentieth centuries, but now most scholars are in agreement.Like other Renaissance paintings of the Madonna and Child that include John the Baptist, the subject arises from a non-Biblical tradition that the Virgin Mary and the Child Jesus met Christ's cousin, St John the Baptist, on the Holy Family's Flight into Egypt. The Virgin is depicted with one breast bared, as if she has recently been suckling her infant son, which recalls the theme of the Virgin breastfeeding which was common in medieval painting. In her hands is a book (traditionally Isaiah chapter 53) which she attempts to hold away from her son, the contents of which probably foretell his future sacrifice and his taking to himself the evil of the world. She looks over her left shoulder to a scroll being read by a pair of angels, which is likely to read Ecce Agnus Dei ("Behold the Lamb of God"), usually an attribute of John the Baptist. The figures are arranged as if in a frieze, revealing Michelangelo's sculptor's mindset. The frieze becomes more convex at its centre, with the figures of Virgin and Child, as in the later Pitti Tondo. Another similarity to relief sculpture is in the plain background: rather than the landscapes more common for exterior settings, Michelangelo has simply painted an expanse of sky. He also eschewes the richly decorated throne typical of sacra conversazione altarpieces, and de-emphasises the angels' wings.Many areas of the painting are in a preliminary state. The black of the Virgin's robe was meant to be overpainted with the rich blue pigment, lapis lazuli, and the angels on the left are indicated only by the green underpaint used for flesh tones in a kind of non finito.

Category:Paintings in the Borghese Collection

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

Category:Religious paintings by Michelangelo

Art Treasures Exhibition, Manchester 1857


Manchester Madonna

Prompt: Focus on Manchester Madonna and explain the Attribution.

The completed angel nearest the Virgin is noted as being similar to a sketch the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio.

Category:Paintings in the Borghese Collection

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

Category:Religious paintings by Michelangelo

Art Treasures Exhibition, Manchester 1857


Manchester Madonna

Prompt: Explain the Attribution of this artwork, Manchester Madonna.

The completed angel nearest the Virgin is noted as being similar to a sketch the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio.

Category:Paintings in the Borghese Collection

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

Category:Religious paintings by Michelangelo

Art Treasures Exhibition, Manchester 1857


Manchester Madonna

Prompt: How does Manchester Madonna explain its Attribution?

The completed angel nearest the Virgin is noted as being similar to a sketch the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio.

Category:Paintings in the Borghese Collection

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

Category:Religious paintings by Michelangelo

Art Treasures Exhibition, Manchester 1857


Manchester Madonna

Prompt: In Manchester Madonna, how is the Attribution discussed?

The completed angel nearest the Virgin is noted as being similar to a sketch the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio.

Category:Paintings in the Borghese Collection

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

Category:Religious paintings by Michelangelo

Art Treasures Exhibition, Manchester 1857


Madonna of the Harpies

Prompt: Focus on Madonna of the Harpies and explain the abstract.

Madonna of the Harpies (Italian: Madonna delle Arpie) is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance. It was commissioned in 1515 and was signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence. It was praised by Giorgio Vasari, and is arguably the artist's best-known work.The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name. At least, Vasari (and presumably his Florentine contemporaries) thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation. Either way, they represent forces of evil being trampled on by the Virgin.It is a sacra conversazione showing the Virgin and Child flanked by putti and two saints (Saint Bonaventure or Francis and John the Evangelist). Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives. The figures have a Leonardo-like aura, with a pyramid-shaped composition. The harpies, figures from pagan mythology (or locusts), here represent temptation and sin, which the Virgin has conquered and stands upon. The Christ child is shown as unusually old, and has an athletic contrapposto pose. He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.The main character in Kürk Mantolu Madonna ('Madonna with a Fur Coat'), a novel by the Turkish writer Sabahattin Ali, is the figure of the Virgin Mary in the Madonna of the Harpies.

Category:Paintings of the Madonna and Child


Madonna of the Harpies

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

Madonna of the Harpies (Italian: Madonna delle Arpie) is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance. It was commissioned in 1515 and was signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence. It was praised by Giorgio Vasari, and is arguably the artist's best-known work.The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name. At least, Vasari (and presumably his Florentine contemporaries) thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation. Either way, they represent forces of evil being trampled on by the Virgin.It is a sacra conversazione showing the Virgin and Child flanked by putti and two saints (Saint Bonaventure or Francis and John the Evangelist). Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives. The figures have a Leonardo-like aura, with a pyramid-shaped composition. The harpies, figures from pagan mythology (or locusts), here represent temptation and sin, which the Virgin has conquered and stands upon. The Christ child is shown as unusually old, and has an athletic contrapposto pose. He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.The main character in Kürk Mantolu Madonna ('Madonna with a Fur Coat'), a novel by the Turkish writer Sabahattin Ali, is the figure of the Virgin Mary in the Madonna of the Harpies.

Category:Paintings of the Madonna and Child


Madonna of the Harpies

Prompt: How does Madonna of the Harpies explain its abstract?

Madonna of the Harpies (Italian: Madonna delle Arpie) is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance. It was commissioned in 1515 and was signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence. It was praised by Giorgio Vasari, and is arguably the artist's best-known work.The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name. At least, Vasari (and presumably his Florentine contemporaries) thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation. Either way, they represent forces of evil being trampled on by the Virgin.It is a sacra conversazione showing the Virgin and Child flanked by putti and two saints (Saint Bonaventure or Francis and John the Evangelist). Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives. The figures have a Leonardo-like aura, with a pyramid-shaped composition. The harpies, figures from pagan mythology (or locusts), here represent temptation and sin, which the Virgin has conquered and stands upon. The Christ child is shown as unusually old, and has an athletic contrapposto pose. He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.The main character in Kürk Mantolu Madonna ('Madonna with a Fur Coat'), a novel by the Turkish writer Sabahattin Ali, is the figure of the Virgin Mary in the Madonna of the Harpies.

Category:Paintings of the Madonna and Child


Madonna of the Harpies

Prompt: In Madonna of the Harpies, how is the abstract discussed?

Madonna of the Harpies (Italian: Madonna delle Arpie) is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance. It was commissioned in 1515 and was signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence. It was praised by Giorgio Vasari, and is arguably the artist's best-known work.The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name. At least, Vasari (and presumably his Florentine contemporaries) thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation. Either way, they represent forces of evil being trampled on by the Virgin.It is a sacra conversazione showing the Virgin and Child flanked by putti and two saints (Saint Bonaventure or Francis and John the Evangelist). Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives. The figures have a Leonardo-like aura, with a pyramid-shaped composition. The harpies, figures from pagan mythology (or locusts), here represent temptation and sin, which the Virgin has conquered and stands upon. The Christ child is shown as unusually old, and has an athletic contrapposto pose. He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.The main character in Kürk Mantolu Madonna ('Madonna with a Fur Coat'), a novel by the Turkish writer Sabahattin Ali, is the figure of the Virgin Mary in the Madonna of the Harpies.

Category:Paintings of the Madonna and Child


At the Dressing-Table

Prompt: Focus on At the Dressing-Table and explain the abstract.

At the Dressing-Table. Self-Portrait (Russian: За туалетом. Автопортрет) is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate (now is a part of Kharkiv Oblast of Ukraine). According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene Lanceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house (1913, Russian Museum), Harvest (1915, Odesa Art Museum) and Whitening Canvas (1917, Tretyakov Gallery).

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: Explain the abstract of this artwork, At the Dressing-Table.

At the Dressing-Table. Self-Portrait (Russian: За туалетом. Автопортрет) is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate (now is a part of Kharkiv Oblast of Ukraine). According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene Lanceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house (1913, Russian Museum), Harvest (1915, Odesa Art Museum) and Whitening Canvas (1917, Tretyakov Gallery).

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: How does At the Dressing-Table explain its abstract?

At the Dressing-Table. Self-Portrait (Russian: За туалетом. Автопортрет) is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate (now is a part of Kharkiv Oblast of Ukraine). According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene Lanceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house (1913, Russian Museum), Harvest (1915, Odesa Art Museum) and Whitening Canvas (1917, Tretyakov Gallery).

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: In At the Dressing-Table, how is the abstract discussed?

At the Dressing-Table. Self-Portrait (Russian: За туалетом. Автопортрет) is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate (now is a part of Kharkiv Oblast of Ukraine). According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene Lanceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house (1913, Russian Museum), Harvest (1915, Odesa Art Museum) and Whitening Canvas (1917, Tretyakov Gallery).

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: Focus on At the Dressing-Table and explain the Literature.

Benoit, A. N. (1997). Художественные письма. 1930—1936 (in Russian). Moscow: Galart. ISBN 5-269-00919-6.Efremova, E. V. (2006). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Art-Rodnik. ISBN 5-9561-0176-8.Evstratova, E. N. (2013). 500 сокровищ русской живописи (in Russian). Moscow: OLMA. ISBN 9-785-373-04169-0.Knyazeva, V. P. (1979). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serevriakova] (in Russian). Moscow: Izobrazitelnoye Iskusstvo.Petinova, E. F. (2001). Русские художники XVIII — начала XX века (in Russian). Moscow: Avrora. ISBN 978-5-7300-0714-7.Rusakova, A. A. (2008). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Molodaya Gvardiya. ISBN 978-5-235-03108-1.Savinov, A. N. (1973). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serebriakova] (in Russian). Moscow: Khudozhnik RSFSR.Sarabyanov, D. V. (1986). Зинаида Серебрякова. Сборник материалов и каталог экспозиции к 100-летию со дня рождения художника (in Russian). Moscow: Sovetskiy Khudozhnik.Государственная Третьяковская галерея — каталог собрания. Vol. 5: Живопись конца XIX — начала XX века. Moscow: Skanrus. 2005. ISBN 5-93221-089-3 – via Bruk, Ya. V.; Iovleva, L. I.Зинаида Серебрякова: живопись, графика. Moscow: Dom Naschokina. 2003. ISBN 5-00-002077-4.

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: Explain the Literature of this artwork, At the Dressing-Table.

Benoit, A. N. (1997). Художественные письма. 1930—1936 (in Russian). Moscow: Galart. ISBN 5-269-00919-6.Efremova, E. V. (2006). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Art-Rodnik. ISBN 5-9561-0176-8.Evstratova, E. N. (2013). 500 сокровищ русской живописи (in Russian). Moscow: OLMA. ISBN 9-785-373-04169-0.Knyazeva, V. P. (1979). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serevriakova] (in Russian). Moscow: Izobrazitelnoye Iskusstvo.Petinova, E. F. (2001). Русские художники XVIII — начала XX века (in Russian). Moscow: Avrora. ISBN 978-5-7300-0714-7.Rusakova, A. A. (2008). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Molodaya Gvardiya. ISBN 978-5-235-03108-1.Savinov, A. N. (1973). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serebriakova] (in Russian). Moscow: Khudozhnik RSFSR.Sarabyanov, D. V. (1986). Зинаида Серебрякова. Сборник материалов и каталог экспозиции к 100-летию со дня рождения художника (in Russian). Moscow: Sovetskiy Khudozhnik.Государственная Третьяковская галерея — каталог собрания. Vol. 5: Живопись конца XIX — начала XX века. Moscow: Skanrus. 2005. ISBN 5-93221-089-3 – via Bruk, Ya. V.; Iovleva, L. I.Зинаида Серебрякова: живопись, графика. Moscow: Dom Naschokina. 2003. ISBN 5-00-002077-4.

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: How does At the Dressing-Table explain its Literature?

Benoit, A. N. (1997). Художественные письма. 1930—1936 (in Russian). Moscow: Galart. ISBN 5-269-00919-6.Efremova, E. V. (2006). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Art-Rodnik. ISBN 5-9561-0176-8.Evstratova, E. N. (2013). 500 сокровищ русской живописи (in Russian). Moscow: OLMA. ISBN 9-785-373-04169-0.Knyazeva, V. P. (1979). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serevriakova] (in Russian). Moscow: Izobrazitelnoye Iskusstvo.Petinova, E. F. (2001). Русские художники XVIII — начала XX века (in Russian). Moscow: Avrora. ISBN 978-5-7300-0714-7.Rusakova, A. A. (2008). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Molodaya Gvardiya. ISBN 978-5-235-03108-1.Savinov, A. N. (1973). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serebriakova] (in Russian). Moscow: Khudozhnik RSFSR.Sarabyanov, D. V. (1986). Зинаида Серебрякова. Сборник материалов и каталог экспозиции к 100-летию со дня рождения художника (in Russian). Moscow: Sovetskiy Khudozhnik.Государственная Третьяковская галерея — каталог собрания. Vol. 5: Живопись конца XIX — начала XX века. Moscow: Skanrus. 2005. ISBN 5-93221-089-3 – via Bruk, Ya. V.; Iovleva, L. I.Зинаида Серебрякова: живопись, графика. Moscow: Dom Naschokina. 2003. ISBN 5-00-002077-4.

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: In At the Dressing-Table, how is the Literature discussed?

Benoit, A. N. (1997). Художественные письма. 1930—1936 (in Russian). Moscow: Galart. ISBN 5-269-00919-6.Efremova, E. V. (2006). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Art-Rodnik. ISBN 5-9561-0176-8.Evstratova, E. N. (2013). 500 сокровищ русской живописи (in Russian). Moscow: OLMA. ISBN 9-785-373-04169-0.Knyazeva, V. P. (1979). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serevriakova] (in Russian). Moscow: Izobrazitelnoye Iskusstvo.Petinova, E. F. (2001). Русские художники XVIII — начала XX века (in Russian). Moscow: Avrora. ISBN 978-5-7300-0714-7.Rusakova, A. A. (2008). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Molodaya Gvardiya. ISBN 978-5-235-03108-1.Savinov, A. N. (1973). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serebriakova] (in Russian). Moscow: Khudozhnik RSFSR.Sarabyanov, D. V. (1986). Зинаида Серебрякова. Сборник материалов и каталог экспозиции к 100-летию со дня рождения художника (in Russian). Moscow: Sovetskiy Khudozhnik.Государственная Третьяковская галерея — каталог собрания. Vol. 5: Живопись конца XIX — начала XX века. Moscow: Skanrus. 2005. ISBN 5-93221-089-3 – via Bruk, Ya. V.; Iovleva, L. I.Зинаида Серебрякова: живопись, графика. Moscow: Dom Naschokina. 2003. ISBN 5-00-002077-4.

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


Portrait of Maria Trip

Prompt: Focus on Portrait of Maria Trip and explain the abstract.

Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE. Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists. A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Isabella Henriette van Eeghen
British Museum
Dut.
Category:Portraits of women
Category:Portraits by Rembrandt
Emile Michel
Category:17th-century portraits
List of paintings by Rembrandt
Category:Paintings in the Rijksmuseum
oil on panel
Gazette des Beaux-Arts
Rijksmuseum
Dutch Golden Age painting
Netherlands Institute for Art History
Wilhelm von Bode
Dutch
Hofstede de Groot
Bode
Rembrandt
Eugène Dutuit
RKD
Wb.
Category:1630s paintings
Carel Vosmaer
Alfred von Wurzbach
Trip
Michel
Vosmaer
oil painting
Netherlands
Isa van Eeghen
Amsterdam


Portrait of Maria Trip

Prompt: Explain the abstract of this artwork, Portrait of Maria Trip.

Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE. Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists. A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Isabella Henriette van Eeghen
British Museum
Dut.
Category:Portraits of women
Category:Portraits by Rembrandt
Emile Michel
Category:17th-century portraits
List of paintings by Rembrandt
Category:Paintings in the Rijksmuseum
oil on panel
Gazette des Beaux-Arts
Rijksmuseum
Dutch Golden Age painting
Netherlands Institute for Art History
Wilhelm von Bode
Dutch
Hofstede de Groot
Bode
Rembrandt
Eugène Dutuit
RKD
Wb.
Category:1630s paintings
Carel Vosmaer
Alfred von Wurzbach
Trip
Michel
Vosmaer
oil painting
Netherlands
Isa van Eeghen
Amsterdam


Portrait of Maria Trip

Prompt: How does Portrait of Maria Trip explain its abstract?

Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE. Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists. A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Isabella Henriette van Eeghen
British Museum
Dut.
Category:Portraits of women
Category:Portraits by Rembrandt
Emile Michel
Category:17th-century portraits
List of paintings by Rembrandt
Category:Paintings in the Rijksmuseum
oil on panel
Gazette des Beaux-Arts
Rijksmuseum
Dutch Golden Age painting
Netherlands Institute for Art History
Wilhelm von Bode
Dutch
Hofstede de Groot
Bode
Rembrandt
Eugène Dutuit
RKD
Wb.
Category:1630s paintings
Carel Vosmaer
Alfred von Wurzbach
Trip
Michel
Vosmaer
oil painting
Netherlands
Isa van Eeghen
Amsterdam