Portrait of Emperor Maximilian I

Prompt: Explain the Description of this artwork, Portrait of Emperor Maximilian I.

The emperor is portrayed from  three-quarter  on a green background. The arms lie on an unseen parapet coinciding with the lower boundary of the painting, according to the Flemish painting tradition. His left hand holds a large pomegranate (his personal symbol), a symbol of cohesion in diversity and thus of the Holy Roman Empire (the grains representing his subjects).According to Stabius's explanation on the Arch of Honour, the symbolism behind the pomegranate  is like this, "although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and more apparent each day and continue to bear fruit."Maximilian wears a gown with a very wide fur collar and a broad-brimmed dark hat, with a brooch in the center. His grey hair crown his aged (Maximilian was 59 at the time) but still aristocratic face.In the upper left is the Habsburg coat of arms and Golden Fleece chain, near a long inscription in capital characters which gives the titles and the deeds of the emperor.POTENTISSIMVS. MAXIMVS. ET. INVICTISSIMVS. CAESAR. MAXIMILIANVS/ QVI. CVNCTOS. SVI. TEMPORIS. REGES. ET. PRINCIPES. IVSTICIA. PRVDENCIA/ MAGNANIMITATE. LIBERALITATE PRAECIPVE. VERO. BELLICA. LAVDE. ET/ ANIMI. FORTITVDINE. SVPERAVIT. NATVS. EST. ANNO. SALVTIS. HVMANAE./ M.CCCC. LIX. DIE. MARCII. IX. VIXIT. ANNOS. LIX. MENSES. IX. DIES. XXV/ DECESSIT. VERO. ANNO. M.D.XIX. MENSIS. IANVARII. DIE. XII. QVEM. DEVS/ OPT. MAX. IN. NVMERVM. VIVENCIVM. REFERRE. VELIT

Category:Cultural depictions of Maximilian I, Holy Roman Emperor

Category:Paintings in the Kunsthistorisches Museum


Portrait of Emperor Maximilian I

Prompt: How does Portrait of Emperor Maximilian I explain its Description?

The emperor is portrayed from  three-quarter  on a green background. The arms lie on an unseen parapet coinciding with the lower boundary of the painting, according to the Flemish painting tradition. His left hand holds a large pomegranate (his personal symbol), a symbol of cohesion in diversity and thus of the Holy Roman Empire (the grains representing his subjects).According to Stabius's explanation on the Arch of Honour, the symbolism behind the pomegranate  is like this, "although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and more apparent each day and continue to bear fruit."Maximilian wears a gown with a very wide fur collar and a broad-brimmed dark hat, with a brooch in the center. His grey hair crown his aged (Maximilian was 59 at the time) but still aristocratic face.In the upper left is the Habsburg coat of arms and Golden Fleece chain, near a long inscription in capital characters which gives the titles and the deeds of the emperor.POTENTISSIMVS. MAXIMVS. ET. INVICTISSIMVS. CAESAR. MAXIMILIANVS/ QVI. CVNCTOS. SVI. TEMPORIS. REGES. ET. PRINCIPES. IVSTICIA. PRVDENCIA/ MAGNANIMITATE. LIBERALITATE PRAECIPVE. VERO. BELLICA. LAVDE. ET/ ANIMI. FORTITVDINE. SVPERAVIT. NATVS. EST. ANNO. SALVTIS. HVMANAE./ M.CCCC. LIX. DIE. MARCII. IX. VIXIT. ANNOS. LIX. MENSES. IX. DIES. XXV/ DECESSIT. VERO. ANNO. M.D.XIX. MENSIS. IANVARII. DIE. XII. QVEM. DEVS/ OPT. MAX. IN. NVMERVM. VIVENCIVM. REFERRE. VELIT

Category:Cultural depictions of Maximilian I, Holy Roman Emperor

Category:Paintings in the Kunsthistorisches Museum


Portrait of Emperor Maximilian I

Prompt: In Portrait of Emperor Maximilian I, how is the Description discussed?

The emperor is portrayed from  three-quarter  on a green background. The arms lie on an unseen parapet coinciding with the lower boundary of the painting, according to the Flemish painting tradition. His left hand holds a large pomegranate (his personal symbol), a symbol of cohesion in diversity and thus of the Holy Roman Empire (the grains representing his subjects).According to Stabius's explanation on the Arch of Honour, the symbolism behind the pomegranate  is like this, "although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and more apparent each day and continue to bear fruit."Maximilian wears a gown with a very wide fur collar and a broad-brimmed dark hat, with a brooch in the center. His grey hair crown his aged (Maximilian was 59 at the time) but still aristocratic face.In the upper left is the Habsburg coat of arms and Golden Fleece chain, near a long inscription in capital characters which gives the titles and the deeds of the emperor.POTENTISSIMVS. MAXIMVS. ET. INVICTISSIMVS. CAESAR. MAXIMILIANVS/ QVI. CVNCTOS. SVI. TEMPORIS. REGES. ET. PRINCIPES. IVSTICIA. PRVDENCIA/ MAGNANIMITATE. LIBERALITATE PRAECIPVE. VERO. BELLICA. LAVDE. ET/ ANIMI. FORTITVDINE. SVPERAVIT. NATVS. EST. ANNO. SALVTIS. HVMANAE./ M.CCCC. LIX. DIE. MARCII. IX. VIXIT. ANNOS. LIX. MENSES. IX. DIES. XXV/ DECESSIT. VERO. ANNO. M.D.XIX. MENSIS. IANVARII. DIE. XII. QVEM. DEVS/ OPT. MAX. IN. NVMERVM. VIVENCIVM. REFERRE. VELIT

Category:Cultural depictions of Maximilian I, Holy Roman Emperor

Category:Paintings in the Kunsthistorisches Museum


Portrait of Emperor Maximilian I

Prompt: Focus on Portrait of Emperor Maximilian I and explain the Comparation with related works of Albrecht Dürer.

Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself, with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule (whereas the Vienna painting does not even show the Order of the Golden Fleece). He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet"  seemed to leave an impression on Dürer. Luber opines that the woodcut The draughtsman drawing a portrait he produced later reflected this meeting. The man enthroned was cradling an orb just like Maximilian was holding his pomegranate.Luber writes:The significance of Dürer’s Maximilian portraits cannot be divined from their surface appearances alone. An understanding of how Dürer made the versions, repeating a single image, but disguising the repetitions, his crucial to interpretation of the portraits. Dürer’s ability to synthesize the representational, political, and anagogical aspects of portraiture in a single series of productions bears further testimony to his creative genius. In this unique group of portraits — drawing, woodcut, and two paintings – equivalence and variation converge within an unchanging structure as Dürer reveals and masters the complex task of Imperial portraiture.

Category:Cultural depictions of Maximilian I, Holy Roman Emperor

Category:Paintings in the Kunsthistorisches Museum


Portrait of Emperor Maximilian I

Prompt: Explain the Comparation with related works of Albrecht Dürer of this artwork, Portrait of Emperor Maximilian I.

Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself, with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule (whereas the Vienna painting does not even show the Order of the Golden Fleece). He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet"  seemed to leave an impression on Dürer. Luber opines that the woodcut The draughtsman drawing a portrait he produced later reflected this meeting. The man enthroned was cradling an orb just like Maximilian was holding his pomegranate.Luber writes:The significance of Dürer’s Maximilian portraits cannot be divined from their surface appearances alone. An understanding of how Dürer made the versions, repeating a single image, but disguising the repetitions, his crucial to interpretation of the portraits. Dürer’s ability to synthesize the representational, political, and anagogical aspects of portraiture in a single series of productions bears further testimony to his creative genius. In this unique group of portraits — drawing, woodcut, and two paintings – equivalence and variation converge within an unchanging structure as Dürer reveals and masters the complex task of Imperial portraiture.

Category:Cultural depictions of Maximilian I, Holy Roman Emperor

Category:Paintings in the Kunsthistorisches Museum


Portrait of Emperor Maximilian I

Prompt: How does Portrait of Emperor Maximilian I explain its Comparation with related works of Albrecht Dürer?

Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself, with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule (whereas the Vienna painting does not even show the Order of the Golden Fleece). He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet"  seemed to leave an impression on Dürer. Luber opines that the woodcut The draughtsman drawing a portrait he produced later reflected this meeting. The man enthroned was cradling an orb just like Maximilian was holding his pomegranate.Luber writes:The significance of Dürer’s Maximilian portraits cannot be divined from their surface appearances alone. An understanding of how Dürer made the versions, repeating a single image, but disguising the repetitions, his crucial to interpretation of the portraits. Dürer’s ability to synthesize the representational, political, and anagogical aspects of portraiture in a single series of productions bears further testimony to his creative genius. In this unique group of portraits — drawing, woodcut, and two paintings – equivalence and variation converge within an unchanging structure as Dürer reveals and masters the complex task of Imperial portraiture.

Category:Cultural depictions of Maximilian I, Holy Roman Emperor

Category:Paintings in the Kunsthistorisches Museum


Portrait of Emperor Maximilian I

Prompt: In Portrait of Emperor Maximilian I, how is the Comparation with related works of Albrecht Dürer discussed?

Katherine Crawford Luber compares the more famous Vienna painting, likely a commission from Maximilian himself, with the Nuremberg version, possibly a processional banner created for the coronation of Charles V. The Nuremberg shows a younger Maximilian with more emphasized symbols of Office and Rule (whereas the Vienna painting does not even show the Order of the Golden Fleece). He is presented in half-length with his hands in a hieratic, axial position. The intimate meeting with Maximilian "high up in the palace in his tiny little cabinet"  seemed to leave an impression on Dürer. Luber opines that the woodcut The draughtsman drawing a portrait he produced later reflected this meeting. The man enthroned was cradling an orb just like Maximilian was holding his pomegranate.Luber writes:The significance of Dürer’s Maximilian portraits cannot be divined from their surface appearances alone. An understanding of how Dürer made the versions, repeating a single image, but disguising the repetitions, his crucial to interpretation of the portraits. Dürer’s ability to synthesize the representational, political, and anagogical aspects of portraiture in a single series of productions bears further testimony to his creative genius. In this unique group of portraits — drawing, woodcut, and two paintings – equivalence and variation converge within an unchanging structure as Dürer reveals and masters the complex task of Imperial portraiture.

Category:Cultural depictions of Maximilian I, Holy Roman Emperor

Category:Paintings in the Kunsthistorisches Museum


Broadway Boogie Woogie

Prompt: Focus on Broadway Boogie Woogie and explain the abstract.

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

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


Broadway Boogie Woogie

Prompt: Explain the abstract of this artwork, Broadway Boogie Woogie.

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

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


Broadway Boogie Woogie

Prompt: How does Broadway Boogie Woogie explain its abstract?

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

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


Broadway Boogie Woogie

Prompt: In Broadway Boogie Woogie, how is the abstract discussed?

Broadway Boogie Woogie is a painting by Piet Mondrian completed in 1943, after he had moved to New York in 1940. Compared to his earlier work, the canvas is divided into many more squares. Although he spent most of his career creating abstract work, this painting is inspired by clear real-world examples: the city grid of Manhattan, and boogie-woogie, an African-American Blues music Mondrian loved. The painting was bought by the Brazilian sculptor Maria Martins for $800 at the Valentine Gallery in New York City, after Martins and Mondrian both exhibited there in 1943. Martins later donated the painting to the Museum of Modern Art in New York City.

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


Broadway Boogie Woogie

Prompt: Focus on Broadway Boogie Woogie and explain the Analysis.

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

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


Broadway Boogie Woogie

Prompt: Explain the Analysis of this artwork, Broadway Boogie Woogie.

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

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


Broadway Boogie Woogie

Prompt: How does Broadway Boogie Woogie explain its Analysis?

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

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


Broadway Boogie Woogie

Prompt: In Broadway Boogie Woogie, how is the Analysis discussed?

When Piet Mondrian arrived in New York he became fond of the neat, rigid architecture. He integrated the mood and tone of jazz into this work. Mondrian called it the “destruction of natural appearance; and construction through continuous opposition of pure means - dynamic rhythm.”

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


Portrait of Mlle. Lange as Danae

Prompt: Focus on Portrait of Mlle. Lange as Danae and explain the abstract.

The Portrait of Mlle Lange as Danaë is a painting by French painter Anne-Louis Girodet de Roussy-Trioson. This satirical painting of the actress Anne Françoise Elisabeth Lange as Danaë replaced a Venus for the last two days of the Paris Salon of 1799, after a dispute between the artist and the sitter.It is now part of the collection of the Minneapolis Institute of Arts.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: Explain the abstract of this artwork, Portrait of Mlle. Lange as Danae.

The Portrait of Mlle Lange as Danaë is a painting by French painter Anne-Louis Girodet de Roussy-Trioson. This satirical painting of the actress Anne Françoise Elisabeth Lange as Danaë replaced a Venus for the last two days of the Paris Salon of 1799, after a dispute between the artist and the sitter.It is now part of the collection of the Minneapolis Institute of Arts.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: How does Portrait of Mlle. Lange as Danae explain its abstract?

The Portrait of Mlle Lange as Danaë is a painting by French painter Anne-Louis Girodet de Roussy-Trioson. This satirical painting of the actress Anne Françoise Elisabeth Lange as Danaë replaced a Venus for the last two days of the Paris Salon of 1799, after a dispute between the artist and the sitter.It is now part of the collection of the Minneapolis Institute of Arts.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: In Portrait of Mlle. Lange as Danae, how is the abstract discussed?

The Portrait of Mlle Lange as Danaë is a painting by French painter Anne-Louis Girodet de Roussy-Trioson. This satirical painting of the actress Anne Françoise Elisabeth Lange as Danaë replaced a Venus for the last two days of the Paris Salon of 1799, after a dispute between the artist and the sitter.It is now part of the collection of the Minneapolis Institute of Arts.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: Focus on Portrait of Mlle. Lange as Danae and explain the History.

The artist Girodet and Miss Lange first crossed paths in the Salon of 1793. Girodet, a student of  Jacques-Louis David would gain notoriety for his submission Endymion. In 1793, Miss Lange was already a prominent actress and a sociétaire of the Comédie-Française. Her likeness as Sylvie by Jean-François Gilles Colson is in the same gallery of 1793.Six years later (1798), as a gift to her newlywed husband, Michel-Jean Simons, Madame Simons commissioned a portrait from Girodet, who painted the actress as the Roman goddess Venus. Miss Lange disliked the painting so much that in a letter written to the artist, she requested that he remove the painting from the Paris Salon and offered only half of Girodet's asking price. Further, she wrote that his work compromised not only her reputation for beauty but his own as an up-and-coming  artist.Furious, the 32-year old Girodet began work on a new painting of Mlle Lange in the guise of Danae. The painting is  deliberately encoded with hidden details about her intimate life, in an effort to defame her. On August 2, 1799,  Girodet exacted his revenge. After destroying the Venus by cutting it up into four pieces, Girodet directed the hanging of his new depiction of  Mlle. Lange as Danae in the Salon Carré., after working on it for 19 days.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: Explain the History of this artwork, Portrait of Mlle. Lange as Danae.

The artist Girodet and Miss Lange first crossed paths in the Salon of 1793. Girodet, a student of  Jacques-Louis David would gain notoriety for his submission Endymion. In 1793, Miss Lange was already a prominent actress and a sociétaire of the Comédie-Française. Her likeness as Sylvie by Jean-François Gilles Colson is in the same gallery of 1793.Six years later (1798), as a gift to her newlywed husband, Michel-Jean Simons, Madame Simons commissioned a portrait from Girodet, who painted the actress as the Roman goddess Venus. Miss Lange disliked the painting so much that in a letter written to the artist, she requested that he remove the painting from the Paris Salon and offered only half of Girodet's asking price. Further, she wrote that his work compromised not only her reputation for beauty but his own as an up-and-coming  artist.Furious, the 32-year old Girodet began work on a new painting of Mlle Lange in the guise of Danae. The painting is  deliberately encoded with hidden details about her intimate life, in an effort to defame her. On August 2, 1799,  Girodet exacted his revenge. After destroying the Venus by cutting it up into four pieces, Girodet directed the hanging of his new depiction of  Mlle. Lange as Danae in the Salon Carré., after working on it for 19 days.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: How does Portrait of Mlle. Lange as Danae explain its History?

The artist Girodet and Miss Lange first crossed paths in the Salon of 1793. Girodet, a student of  Jacques-Louis David would gain notoriety for his submission Endymion. In 1793, Miss Lange was already a prominent actress and a sociétaire of the Comédie-Française. Her likeness as Sylvie by Jean-François Gilles Colson is in the same gallery of 1793.Six years later (1798), as a gift to her newlywed husband, Michel-Jean Simons, Madame Simons commissioned a portrait from Girodet, who painted the actress as the Roman goddess Venus. Miss Lange disliked the painting so much that in a letter written to the artist, she requested that he remove the painting from the Paris Salon and offered only half of Girodet's asking price. Further, she wrote that his work compromised not only her reputation for beauty but his own as an up-and-coming  artist.Furious, the 32-year old Girodet began work on a new painting of Mlle Lange in the guise of Danae. The painting is  deliberately encoded with hidden details about her intimate life, in an effort to defame her. On August 2, 1799,  Girodet exacted his revenge. After destroying the Venus by cutting it up into four pieces, Girodet directed the hanging of his new depiction of  Mlle. Lange as Danae in the Salon Carré., after working on it for 19 days.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: In Portrait of Mlle. Lange as Danae, how is the History discussed?

The artist Girodet and Miss Lange first crossed paths in the Salon of 1793. Girodet, a student of  Jacques-Louis David would gain notoriety for his submission Endymion. In 1793, Miss Lange was already a prominent actress and a sociétaire of the Comédie-Française. Her likeness as Sylvie by Jean-François Gilles Colson is in the same gallery of 1793.Six years later (1798), as a gift to her newlywed husband, Michel-Jean Simons, Madame Simons commissioned a portrait from Girodet, who painted the actress as the Roman goddess Venus. Miss Lange disliked the painting so much that in a letter written to the artist, she requested that he remove the painting from the Paris Salon and offered only half of Girodet's asking price. Further, she wrote that his work compromised not only her reputation for beauty but his own as an up-and-coming  artist.Furious, the 32-year old Girodet began work on a new painting of Mlle Lange in the guise of Danae. The painting is  deliberately encoded with hidden details about her intimate life, in an effort to defame her. On August 2, 1799,  Girodet exacted his revenge. After destroying the Venus by cutting it up into four pieces, Girodet directed the hanging of his new depiction of  Mlle. Lange as Danae in the Salon Carré., after working on it for 19 days.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: Focus on Portrait of Mlle. Lange as Danae and explain the Symbolism.

Miss Lange is depicted gathering gold pieces in a sheet. This common scene from the shower of gold episode associated with Danae was used by Girodet to portray Mlle Lange as a greedy person. The winged putto helping her collect gold coins is Palmyre, her daughter from an affair with a banker. She is accompanied by a turkey bearing a wedding ring on its foot. This symbolizes the husband, Simons. There is an infant, representing the son, gathering peacock feathers that are growing from the turkey. The mother and the children have been adorned with headdresses fashioned out of peacock feathers.Two white doves are bound to a scale, each bearing a Latin inscription. An allusion to adultery (Latin: fidelitas) is found around the neck of the bird that has been crushed to death by one of the gold coins. The other (Latin: constantia) is written around the neck of the bird that gotten away, suggesting once more that her character is unsteady.In the background, a statue of Abundantia is dimly lit by a small fire that has drawn moths. At the base of the statue is yet another Latin expression (Latin: bonæ spei et. laribus sacrum).Additionally, the four corners of the frame have been decorated with ornate cameo reliefs, each bearing Latin phrases or mottos:Her mirror, now broken and producing no reflection is an attribute of Vanitas used together with the mermaid.On the floor, a scroll of the play ASINARIA COMŒDIA as per PLAVTI is set ablaze upon her sandal.Another lover of Miss Lange, removed from her pedestal, is depicted in the shadowy area below Danae's seat. Called a satyr by some scholars, the grimacing head is crowned by vine leaves in the likeness of a wigmaker named after a certain N. Leuthrop. A snail rests upon one of its leaves.  Beauregard is said to have paid a lot amount of money for half a day's worth of her time, which is symbolized with gold coin lodged into the right eye socket of the figure.The foot supporting Miss Lange's seat has been splintered, and is stabilized by a brick. A mouse, caught in a trap, is seen next to the face of the illegitimate marquis of Beauregard.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: Explain the Symbolism of this artwork, Portrait of Mlle. Lange as Danae.

Miss Lange is depicted gathering gold pieces in a sheet. This common scene from the shower of gold episode associated with Danae was used by Girodet to portray Mlle Lange as a greedy person. The winged putto helping her collect gold coins is Palmyre, her daughter from an affair with a banker. She is accompanied by a turkey bearing a wedding ring on its foot. This symbolizes the husband, Simons. There is an infant, representing the son, gathering peacock feathers that are growing from the turkey. The mother and the children have been adorned with headdresses fashioned out of peacock feathers.Two white doves are bound to a scale, each bearing a Latin inscription. An allusion to adultery (Latin: fidelitas) is found around the neck of the bird that has been crushed to death by one of the gold coins. The other (Latin: constantia) is written around the neck of the bird that gotten away, suggesting once more that her character is unsteady.In the background, a statue of Abundantia is dimly lit by a small fire that has drawn moths. At the base of the statue is yet another Latin expression (Latin: bonæ spei et. laribus sacrum).Additionally, the four corners of the frame have been decorated with ornate cameo reliefs, each bearing Latin phrases or mottos:Her mirror, now broken and producing no reflection is an attribute of Vanitas used together with the mermaid.On the floor, a scroll of the play ASINARIA COMŒDIA as per PLAVTI is set ablaze upon her sandal.Another lover of Miss Lange, removed from her pedestal, is depicted in the shadowy area below Danae's seat. Called a satyr by some scholars, the grimacing head is crowned by vine leaves in the likeness of a wigmaker named after a certain N. Leuthrop. A snail rests upon one of its leaves.  Beauregard is said to have paid a lot amount of money for half a day's worth of her time, which is symbolized with gold coin lodged into the right eye socket of the figure.The foot supporting Miss Lange's seat has been splintered, and is stabilized by a brick. A mouse, caught in a trap, is seen next to the face of the illegitimate marquis of Beauregard.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: How does Portrait of Mlle. Lange as Danae explain its Symbolism?

Miss Lange is depicted gathering gold pieces in a sheet. This common scene from the shower of gold episode associated with Danae was used by Girodet to portray Mlle Lange as a greedy person. The winged putto helping her collect gold coins is Palmyre, her daughter from an affair with a banker. She is accompanied by a turkey bearing a wedding ring on its foot. This symbolizes the husband, Simons. There is an infant, representing the son, gathering peacock feathers that are growing from the turkey. The mother and the children have been adorned with headdresses fashioned out of peacock feathers.Two white doves are bound to a scale, each bearing a Latin inscription. An allusion to adultery (Latin: fidelitas) is found around the neck of the bird that has been crushed to death by one of the gold coins. The other (Latin: constantia) is written around the neck of the bird that gotten away, suggesting once more that her character is unsteady.In the background, a statue of Abundantia is dimly lit by a small fire that has drawn moths. At the base of the statue is yet another Latin expression (Latin: bonæ spei et. laribus sacrum).Additionally, the four corners of the frame have been decorated with ornate cameo reliefs, each bearing Latin phrases or mottos:Her mirror, now broken and producing no reflection is an attribute of Vanitas used together with the mermaid.On the floor, a scroll of the play ASINARIA COMŒDIA as per PLAVTI is set ablaze upon her sandal.Another lover of Miss Lange, removed from her pedestal, is depicted in the shadowy area below Danae's seat. Called a satyr by some scholars, the grimacing head is crowned by vine leaves in the likeness of a wigmaker named after a certain N. Leuthrop. A snail rests upon one of its leaves.  Beauregard is said to have paid a lot amount of money for half a day's worth of her time, which is symbolized with gold coin lodged into the right eye socket of the figure.The foot supporting Miss Lange's seat has been splintered, and is stabilized by a brick. A mouse, caught in a trap, is seen next to the face of the illegitimate marquis of Beauregard.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: In Portrait of Mlle. Lange as Danae, how is the Symbolism discussed?

Miss Lange is depicted gathering gold pieces in a sheet. This common scene from the shower of gold episode associated with Danae was used by Girodet to portray Mlle Lange as a greedy person. The winged putto helping her collect gold coins is Palmyre, her daughter from an affair with a banker. She is accompanied by a turkey bearing a wedding ring on its foot. This symbolizes the husband, Simons. There is an infant, representing the son, gathering peacock feathers that are growing from the turkey. The mother and the children have been adorned with headdresses fashioned out of peacock feathers.Two white doves are bound to a scale, each bearing a Latin inscription. An allusion to adultery (Latin: fidelitas) is found around the neck of the bird that has been crushed to death by one of the gold coins. The other (Latin: constantia) is written around the neck of the bird that gotten away, suggesting once more that her character is unsteady.In the background, a statue of Abundantia is dimly lit by a small fire that has drawn moths. At the base of the statue is yet another Latin expression (Latin: bonæ spei et. laribus sacrum).Additionally, the four corners of the frame have been decorated with ornate cameo reliefs, each bearing Latin phrases or mottos:Her mirror, now broken and producing no reflection is an attribute of Vanitas used together with the mermaid.On the floor, a scroll of the play ASINARIA COMŒDIA as per PLAVTI is set ablaze upon her sandal.Another lover of Miss Lange, removed from her pedestal, is depicted in the shadowy area below Danae's seat. Called a satyr by some scholars, the grimacing head is crowned by vine leaves in the likeness of a wigmaker named after a certain N. Leuthrop. A snail rests upon one of its leaves.  Beauregard is said to have paid a lot amount of money for half a day's worth of her time, which is symbolized with gold coin lodged into the right eye socket of the figure.The foot supporting Miss Lange's seat has been splintered, and is stabilized by a brick. A mouse, caught in a trap, is seen next to the face of the illegitimate marquis of Beauregard.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: Focus on Portrait of Mlle. Lange as Danae and explain the Impact.

Although Danae was exhibited for just a few days, it was demonstrated at the Louvre during the height of the French Directory. Wishing to be forgotten, Miss Lange left France for Italy, where she found a new foothold. Some years later, she returned to France to visit and see how the city had changed. There, she saw a print after Girodet's Danae, to which she remarked (French: Ce portrait me fera mourir de chagrin) that the painting would make her die of grief. Miss Lange remained in Florence until her death in 1816.Girodet himself later expressed remorse over creating the painting, and refused to show it to friends.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: Explain the Impact of this artwork, Portrait of Mlle. Lange as Danae.

Although Danae was exhibited for just a few days, it was demonstrated at the Louvre during the height of the French Directory. Wishing to be forgotten, Miss Lange left France for Italy, where she found a new foothold. Some years later, she returned to France to visit and see how the city had changed. There, she saw a print after Girodet's Danae, to which she remarked (French: Ce portrait me fera mourir de chagrin) that the painting would make her die of grief. Miss Lange remained in Florence until her death in 1816.Girodet himself later expressed remorse over creating the painting, and refused to show it to friends.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: How does Portrait of Mlle. Lange as Danae explain its Impact?

Although Danae was exhibited for just a few days, it was demonstrated at the Louvre during the height of the French Directory. Wishing to be forgotten, Miss Lange left France for Italy, where she found a new foothold. Some years later, she returned to France to visit and see how the city had changed. There, she saw a print after Girodet's Danae, to which she remarked (French: Ce portrait me fera mourir de chagrin) that the painting would make her die of grief. Miss Lange remained in Florence until her death in 1816.Girodet himself later expressed remorse over creating the painting, and refused to show it to friends.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Portrait of Mlle. Lange as Danae

Prompt: In Portrait of Mlle. Lange as Danae, how is the Impact discussed?

Although Danae was exhibited for just a few days, it was demonstrated at the Louvre during the height of the French Directory. Wishing to be forgotten, Miss Lange left France for Italy, where she found a new foothold. Some years later, she returned to France to visit and see how the city had changed. There, she saw a print after Girodet's Danae, to which she remarked (French: Ce portrait me fera mourir de chagrin) that the painting would make her die of grief. Miss Lange remained in Florence until her death in 1816.Girodet himself later expressed remorse over creating the painting, and refused to show it to friends.

:c:Category:Mermaid in her vanity in heraldry

File:Girodet-Trioson - Mademoiselle Lange as Venus, 1798.jpg

Category:Paintings in the Minneapolis Institute of Art

''Venus'', rejected by Miss Lange and damaged by the artist (1798, [[Museum der bildenden Künste

desin[a]t in piscem mulier formosa superne

Category:Paintings by Anne-Louis Girodet de Roussy-Trioson

Category:Paintings based on Metamorphoses


Prompt: Focus on Equestrian Portrait of Prince Balthasar Charles and explain the abstract.

The Equestrian Portrait of Prince Balthasar Charles is a portrait of Balthasar Charles, Prince of Asturias on horseback, painted in 1634–35 by Diego Velázquez. It is now in the Prado.Velázquez was commissioned to paint a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. This work was meant to fill the gap between two larger equestrian portraits of the prince's parents, Philip IV and Elisabeth of France.Art historian Andrew Graham Dixon describes the subject as a "little boy on this plump horse, underneath a lowering sky full of dark clouds. The child looks lost." According to Simona Di Nepi, the young prince's calm demeanor while seated on a rearing horse has a political significance, representing him as a confident horseman and a strong leader. His authority is symbolized by the baton he holds, the sword he wears, and the military sash on his chest.The peculiar thickness of the horse's abdomen may have been calculated by Velázquez to appear normal when the portrait was viewed from below, according to E. Lafuente Ferrari.The Wallace Collection also has an equestrian portrait of the prince. This is attributed to the studio of Velázquez.

Category:Portraits by Diego Velázquez in the Museo del Prado

Equestrian Portrait of Elisabeth of France


Prompt: Explain the abstract of this artwork, Equestrian Portrait of Prince Balthasar Charles.

The Equestrian Portrait of Prince Balthasar Charles is a portrait of Balthasar Charles, Prince of Asturias on horseback, painted in 1634–35 by Diego Velázquez. It is now in the Prado.Velázquez was commissioned to paint a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. This work was meant to fill the gap between two larger equestrian portraits of the prince's parents, Philip IV and Elisabeth of France.Art historian Andrew Graham Dixon describes the subject as a "little boy on this plump horse, underneath a lowering sky full of dark clouds. The child looks lost." According to Simona Di Nepi, the young prince's calm demeanor while seated on a rearing horse has a political significance, representing him as a confident horseman and a strong leader. His authority is symbolized by the baton he holds, the sword he wears, and the military sash on his chest.The peculiar thickness of the horse's abdomen may have been calculated by Velázquez to appear normal when the portrait was viewed from below, according to E. Lafuente Ferrari.The Wallace Collection also has an equestrian portrait of the prince. This is attributed to the studio of Velázquez.

Category:Portraits by Diego Velázquez in the Museo del Prado

Equestrian Portrait of Elisabeth of France


Prompt: How does Equestrian Portrait of Prince Balthasar Charles explain its abstract?

The Equestrian Portrait of Prince Balthasar Charles is a portrait of Balthasar Charles, Prince of Asturias on horseback, painted in 1634–35 by Diego Velázquez. It is now in the Prado.Velázquez was commissioned to paint a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. This work was meant to fill the gap between two larger equestrian portraits of the prince's parents, Philip IV and Elisabeth of France.Art historian Andrew Graham Dixon describes the subject as a "little boy on this plump horse, underneath a lowering sky full of dark clouds. The child looks lost." According to Simona Di Nepi, the young prince's calm demeanor while seated on a rearing horse has a political significance, representing him as a confident horseman and a strong leader. His authority is symbolized by the baton he holds, the sword he wears, and the military sash on his chest.The peculiar thickness of the horse's abdomen may have been calculated by Velázquez to appear normal when the portrait was viewed from below, according to E. Lafuente Ferrari.The Wallace Collection also has an equestrian portrait of the prince. This is attributed to the studio of Velázquez.

Category:Portraits by Diego Velázquez in the Museo del Prado

Equestrian Portrait of Elisabeth of France


Prompt: In Equestrian Portrait of Prince Balthasar Charles, how is the abstract discussed?

The Equestrian Portrait of Prince Balthasar Charles is a portrait of Balthasar Charles, Prince of Asturias on horseback, painted in 1634–35 by Diego Velázquez. It is now in the Prado.Velázquez was commissioned to paint a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. This work was meant to fill the gap between two larger equestrian portraits of the prince's parents, Philip IV and Elisabeth of France.Art historian Andrew Graham Dixon describes the subject as a "little boy on this plump horse, underneath a lowering sky full of dark clouds. The child looks lost." According to Simona Di Nepi, the young prince's calm demeanor while seated on a rearing horse has a political significance, representing him as a confident horseman and a strong leader. His authority is symbolized by the baton he holds, the sword he wears, and the military sash on his chest.The peculiar thickness of the horse's abdomen may have been calculated by Velázquez to appear normal when the portrait was viewed from below, according to E. Lafuente Ferrari.The Wallace Collection also has an equestrian portrait of the prince. This is attributed to the studio of Velázquez.

Category:Portraits by Diego Velázquez in the Museo del Prado

Equestrian Portrait of Elisabeth of France


The Mass at Bolsena

Prompt: Focus on The Mass at Bolsena and explain the abstract.

The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514  as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass at Bolsena, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The following year, in 1264, Pope Urban IV instituted the Feast of Corpus Christi to celebrate this miraculous event. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral.Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair.  This is one of several instances in which Raphael has placed himself in his paintings.  Also shown in the work is Pope Julius II (1443–1513), kneeling at the right, and his daughter Felice della Rovere, shown on the left at the bottom of the steps, in profile, in dark clothes. The four cardinals to the right have also been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius.


The Mass at Bolsena

Prompt: Explain the abstract of this artwork, The Mass at Bolsena.

The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514  as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass at Bolsena, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The following year, in 1264, Pope Urban IV instituted the Feast of Corpus Christi to celebrate this miraculous event. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral.Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair.  This is one of several instances in which Raphael has placed himself in his paintings.  Also shown in the work is Pope Julius II (1443–1513), kneeling at the right, and his daughter Felice della Rovere, shown on the left at the bottom of the steps, in profile, in dark clothes. The four cardinals to the right have also been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius.


The Mass at Bolsena

Prompt: How does The Mass at Bolsena explain its abstract?

The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514  as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass at Bolsena, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The following year, in 1264, Pope Urban IV instituted the Feast of Corpus Christi to celebrate this miraculous event. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral.Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair.  This is one of several instances in which Raphael has placed himself in his paintings.  Also shown in the work is Pope Julius II (1443–1513), kneeling at the right, and his daughter Felice della Rovere, shown on the left at the bottom of the steps, in profile, in dark clothes. The four cardinals to the right have also been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius.


The Mass at Bolsena

Prompt: In The Mass at Bolsena, how is the abstract discussed?

The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514  as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass at Bolsena, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The following year, in 1264, Pope Urban IV instituted the Feast of Corpus Christi to celebrate this miraculous event. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral.Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair.  This is one of several instances in which Raphael has placed himself in his paintings.  Also shown in the work is Pope Julius II (1443–1513), kneeling at the right, and his daughter Felice della Rovere, shown on the left at the bottom of the steps, in profile, in dark clothes. The four cardinals to the right have also been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius.


Self-Portrait at the Age of 63

Prompt: Focus on Self-Portrait at the Age of 63 and explain the abstract.

Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt.  One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669.  Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist.  It was bought by the National Gallery, London in 1851.The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in).  Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped.  A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides.  X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick.  His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick.  It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s  by the National Gallery.

Category:Paintings in the National Gallery, London


Self-Portrait at the Age of 63

Prompt: Explain the abstract of this artwork, Self-Portrait at the Age of 63.

Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt.  One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669.  Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist.  It was bought by the National Gallery, London in 1851.The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in).  Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped.  A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides.  X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick.  His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick.  It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s  by the National Gallery.

Category:Paintings in the National Gallery, London


Self-Portrait at the Age of 63

Prompt: How does Self-Portrait at the Age of 63 explain its abstract?

Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt.  One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669.  Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist.  It was bought by the National Gallery, London in 1851.The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in).  Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped.  A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides.  X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick.  His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick.  It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s  by the National Gallery.

Category:Paintings in the National Gallery, London


Self-Portrait at the Age of 63

Prompt: In Self-Portrait at the Age of 63, how is the abstract discussed?

Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt.  One of three dating to 1669, it was one of the last in his series of around 80 self-portraits, painted in the months before his death in October 1669.  Despite the closeness of his death, and the concentration on his aging face, Rembrandt makes an impression of a self-assured and confident artist.  It was bought by the National Gallery, London in 1851.The work measures 86 cm × 70.5 cm (33.9 in × 27.8 in).  Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped.  A damaged signature and date were revealed when the painting was cleaned in 1967, and it is believed that the work has been cut down on all four sides.  X-ray analysis has shown two pentimenti (changes to the composition by the artist): the beret was originally larger and white in colour, and the hands originally had a different position, holding a paintbrush and maulstick.  His sagging blemished face is carefully rendered with many layers of translucent paint, but his robe and the background remains shadowy and the hands are indistinct.The painting was investigated by the scientists of the National Gallery in London. Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes.It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick.  It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s  by the National Gallery.

Category:Paintings in the National Gallery, London


Cestello Annunciation

Prompt: Focus on Cestello Annunciation and explain the abstract.

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her (hence 'Annunciation') that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat' (Let it be done to me) is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in Latin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Category:Paintings by Sandro Botticelli in the Uffizi


Cestello Annunciation

Prompt: Explain the abstract of this artwork, Cestello Annunciation.

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her (hence 'Annunciation') that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat' (Let it be done to me) is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in Latin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Category:Paintings by Sandro Botticelli in the Uffizi


Cestello Annunciation

Prompt: How does Cestello Annunciation explain its abstract?

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her (hence 'Annunciation') that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat' (Let it be done to me) is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in Latin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Category:Paintings by Sandro Botticelli in the Uffizi


Cestello Annunciation

Prompt: In Cestello Annunciation, how is the abstract discussed?

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her (hence 'Annunciation') that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat' (Let it be done to me) is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in Latin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Category:Paintings by Sandro Botticelli in the Uffizi


Odalisque with Slave

Prompt: Focus on Odalisque with Slave and explain the abstract.

Odalisque with Slave (French: L'Odalisque à l'esclave) is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: Explain the abstract of this artwork, Odalisque with Slave.

Odalisque with Slave (French: L'Odalisque à l'esclave) is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: How does Odalisque with Slave explain its abstract?

Odalisque with Slave (French: L'Odalisque à l'esclave) is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: In Odalisque with Slave, how is the abstract discussed?

Odalisque with Slave (French: L'Odalisque à l'esclave) is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: Focus on Odalisque with Slave and explain the History.

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier. The musician was painted from a model posed in the studio, and many details such as the tanbour were derived from engravings.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger.Ingres made a second version in 1842 with the help of his students Paul and Jean-Hippolyte Flandrin which is at the Walters Art Museum in Baltimore. In this version the background wall, described by art historian Karin Grimme as imprisoning the odalisque in "a room with no exit", was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: Explain the History of this artwork, Odalisque with Slave.

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier. The musician was painted from a model posed in the studio, and many details such as the tanbour were derived from engravings.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger.Ingres made a second version in 1842 with the help of his students Paul and Jean-Hippolyte Flandrin which is at the Walters Art Museum in Baltimore. In this version the background wall, described by art historian Karin Grimme as imprisoning the odalisque in "a room with no exit", was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: How does Odalisque with Slave explain its History?

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier. The musician was painted from a model posed in the studio, and many details such as the tanbour were derived from engravings.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger.Ingres made a second version in 1842 with the help of his students Paul and Jean-Hippolyte Flandrin which is at the Walters Art Museum in Baltimore. In this version the background wall, described by art historian Karin Grimme as imprisoning the odalisque in "a room with no exit", was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: In Odalisque with Slave, how is the History discussed?

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier. The musician was painted from a model posed in the studio, and many details such as the tanbour were derived from engravings.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger.Ingres made a second version in 1842 with the help of his students Paul and Jean-Hippolyte Flandrin which is at the Walters Art Museum in Baltimore. In this version the background wall, described by art historian Karin Grimme as imprisoning the odalisque in "a room with no exit", was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Allegory of Gluttony and Lust

Prompt: Focus on Allegory of Gluttony and Lust and explain the abstract.

Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

Category:Paintings in the Yale University Art Gallery

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)


Allegory of Gluttony and Lust

Prompt: Explain the abstract of this artwork, Allegory of Gluttony and Lust.

Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

Category:Paintings in the Yale University Art Gallery

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)


Allegory of Gluttony and Lust

Prompt: How does Allegory of Gluttony and Lust explain its abstract?

Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

Category:Paintings in the Yale University Art Gallery

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)


Allegory of Gluttony and Lust

Prompt: In Allegory of Gluttony and Lust, how is the abstract discussed?

Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

Category:Paintings in the Yale University Art Gallery

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)


Solly Madonna

Prompt: Focus on Solly Madonna and explain the abstract.

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly (1776–1848).

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael


Solly Madonna

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

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly (1776–1848).

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael


Solly Madonna

Prompt: How does Solly Madonna explain its abstract?

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly (1776–1848).

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael


Solly Madonna

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

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly (1776–1848).

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael


Moses Breaking the Tablets of the Law

Prompt: Focus on Moses Breaking the Tablets of the Law and explain the abstract.

Moses Breaking the Tablets of the Law is a 1659 oil-on-canvas painting of the prophet Moses by the Dutch artist Rembrandt. It depicts Moses about to break the original two stone tablets inscribed with the Ten Commandments. It is now in the Gemäldegalerie, Berlin.

Category:Paintings in the Gemäldegalerie, Berlin


Moses Breaking the Tablets of the Law

Prompt: Explain the abstract of this artwork, Moses Breaking the Tablets of the Law.

Moses Breaking the Tablets of the Law is a 1659 oil-on-canvas painting of the prophet Moses by the Dutch artist Rembrandt. It depicts Moses about to break the original two stone tablets inscribed with the Ten Commandments. It is now in the Gemäldegalerie, Berlin.

Category:Paintings in the Gemäldegalerie, Berlin


Moses Breaking the Tablets of the Law

Prompt: How does Moses Breaking the Tablets of the Law explain its abstract?

Moses Breaking the Tablets of the Law is a 1659 oil-on-canvas painting of the prophet Moses by the Dutch artist Rembrandt. It depicts Moses about to break the original two stone tablets inscribed with the Ten Commandments. It is now in the Gemäldegalerie, Berlin.

Category:Paintings in the Gemäldegalerie, Berlin


Moses Breaking the Tablets of the Law

Prompt: In Moses Breaking the Tablets of the Law, how is the abstract discussed?

Moses Breaking the Tablets of the Law is a 1659 oil-on-canvas painting of the prophet Moses by the Dutch artist Rembrandt. It depicts Moses about to break the original two stone tablets inscribed with the Ten Commandments. It is now in the Gemäldegalerie, Berlin.

Category:Paintings in the Gemäldegalerie, Berlin


Portrait of a Young Woman (La Muta)

Prompt: Focus on Portrait of a Young Woman (La Muta) and explain the abstract.

The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Category:Collection of the Galleria Nazionale delle Marche


Portrait of a Young Woman (La Muta)

Prompt: Explain the abstract of this artwork, Portrait of a Young Woman (La Muta).

The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Category:Collection of the Galleria Nazionale delle Marche


Portrait of a Young Woman (La Muta)

Prompt: How does Portrait of a Young Woman (La Muta) explain its abstract?

The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Category:Collection of the Galleria Nazionale delle Marche


Portrait of a Young Woman (La Muta)

Prompt: In Portrait of a Young Woman (La Muta), how is the abstract discussed?

The Portrait of a Young Woman, also known as La Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael, La Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Category:Collection of the Galleria Nazionale delle Marche


Conestabile Madonna

Prompt: Focus on Conestabile Madonna and explain the abstract.

The Conestabile Madonna is a small (and probably unfinished) painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate (symbol of the Passion) instead of the book.

Category:Paintings in the Hermitage Museum

Category:Paintings of the Madonna and Child by Raphael


Conestabile Madonna

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

The Conestabile Madonna is a small (and probably unfinished) painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate (symbol of the Passion) instead of the book.

Category:Paintings in the Hermitage Museum

Category:Paintings of the Madonna and Child by Raphael