Black Square

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

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

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

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

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

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

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

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Focus on Black Square and explain the Influence.

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

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

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

Prompt: How does Black Square explain its Influence?

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

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

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

Prompt: Focus on Black Square and explain the Condition.

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

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

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

Prompt: How does Black Square explain its Condition?

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Black Square

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

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

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

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

Triptych at the Russian Museum, featuring the 1924 version

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

Russian Soviet Federative Socialist Republic


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

Prompt: How does Oath of the Horatii explain its Compositional technique?

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

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

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Oath of the Horatii

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

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

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

List of paintings by Jacques-Louis David

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

Érasistrate découvrant la cause de la Maladie d’Antiochius

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

Erasistratus Discovering the Cause of Antiochus' Disease

Study for Camilla, black chalk and white highlights

Category:Paintings in the Louvre by French artists

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

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

Category:Paintings by Jacques-Louis David


Mont Sainte-Victoire (Cézanne)

Prompt: Focus on Mont Sainte-Victoire (Cézanne) and explain the abstract.

Mont Sainte-Victoire is a series of oil paintings by French artist Paul Cézanne, depicting the French mountain Montagne Sainte-Victoire.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: Explain the abstract of this artwork, Mont Sainte-Victoire (Cézanne).

Mont Sainte-Victoire is a series of oil paintings by French artist Paul Cézanne, depicting the French mountain Montagne Sainte-Victoire.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: How does Mont Sainte-Victoire (Cézanne) explain its abstract?

Mont Sainte-Victoire is a series of oil paintings by French artist Paul Cézanne, depicting the French mountain Montagne Sainte-Victoire.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: In Mont Sainte-Victoire (Cézanne), how is the abstract discussed?

Mont Sainte-Victoire is a series of oil paintings by French artist Paul Cézanne, depicting the French mountain Montagne Sainte-Victoire.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: Focus on Mont Sainte-Victoire (Cézanne) and explain the Description.

Montagne Sainte-Victoire is a mountain in southern France, overlooking Aix-en-Provence. It became the subject of a number of Cézanne's paintings, in total numbering about thirty paintings and watercolors.Mont Sainte-Victoire became one of Cézanne's most repeated and varied themes, with Cézanne changing something about the scene each time, from his angle to the lighting to the compositional specifics to the mood he tried to evoke. Cézanne used three primary vantage points for these paintings: near his brother's property in Bellevue, near Bibemus quarry, and in Les Lauves. His scenes generally included Mont Sainte-Victoire itself, a grey-white limestone mountain, and the surrounding valley and plains that the mountain rose from.Cézanne's Mont Sainte-Victoire paintings fell into two main periods: those he executed during his so-called "period of synthesis," from roughly the 1870s to 1895, and those he created during his late period, from around 1895 until his death in 1906. Through both periods, Cézanne painted in watercolor as well as oil paints to capture Mont Sainte-Victoire with more transparency and lightness.Only half a year after the opening of the Aix-Marseille train line on October 15, 1877, in a letter to Émile Zola dated April 14, 1878, Cézanne praised Mont Sainte-Victoire, which he viewed from the train while passing through the railway bridge at Arc River Valley, as a "beau motif (beautiful motif)." Around this time, he began a series in which he tropicalized the mountain.These paintings belong to Post-Impressionism. Cézanne used geometry to describe nature and different colours to represent the depth of objects. Cézanne generally tried to convey the eternal, interior structure of the scene before him, more than the ephemeral surface features. While the Impressionists tried to depict nature directly as they saw it, Cézanne generally tried to convey a sense of what was beneath what the naked eye could see, though he still had a sharp eye for subtle changes in light and atmosphere. Cézanne tried to evoke emotions through his works and "find order in his sensations." The whole series embodies Cézanne's struggle to mold nature into art through geometric forms and effects of color.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: Explain the Description of this artwork, Mont Sainte-Victoire (Cézanne).

Montagne Sainte-Victoire is a mountain in southern France, overlooking Aix-en-Provence. It became the subject of a number of Cézanne's paintings, in total numbering about thirty paintings and watercolors.Mont Sainte-Victoire became one of Cézanne's most repeated and varied themes, with Cézanne changing something about the scene each time, from his angle to the lighting to the compositional specifics to the mood he tried to evoke. Cézanne used three primary vantage points for these paintings: near his brother's property in Bellevue, near Bibemus quarry, and in Les Lauves. His scenes generally included Mont Sainte-Victoire itself, a grey-white limestone mountain, and the surrounding valley and plains that the mountain rose from.Cézanne's Mont Sainte-Victoire paintings fell into two main periods: those he executed during his so-called "period of synthesis," from roughly the 1870s to 1895, and those he created during his late period, from around 1895 until his death in 1906. Through both periods, Cézanne painted in watercolor as well as oil paints to capture Mont Sainte-Victoire with more transparency and lightness.Only half a year after the opening of the Aix-Marseille train line on October 15, 1877, in a letter to Émile Zola dated April 14, 1878, Cézanne praised Mont Sainte-Victoire, which he viewed from the train while passing through the railway bridge at Arc River Valley, as a "beau motif (beautiful motif)." Around this time, he began a series in which he tropicalized the mountain.These paintings belong to Post-Impressionism. Cézanne used geometry to describe nature and different colours to represent the depth of objects. Cézanne generally tried to convey the eternal, interior structure of the scene before him, more than the ephemeral surface features. While the Impressionists tried to depict nature directly as they saw it, Cézanne generally tried to convey a sense of what was beneath what the naked eye could see, though he still had a sharp eye for subtle changes in light and atmosphere. Cézanne tried to evoke emotions through his works and "find order in his sensations." The whole series embodies Cézanne's struggle to mold nature into art through geometric forms and effects of color.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: How does Mont Sainte-Victoire (Cézanne) explain its Description?

Montagne Sainte-Victoire is a mountain in southern France, overlooking Aix-en-Provence. It became the subject of a number of Cézanne's paintings, in total numbering about thirty paintings and watercolors.Mont Sainte-Victoire became one of Cézanne's most repeated and varied themes, with Cézanne changing something about the scene each time, from his angle to the lighting to the compositional specifics to the mood he tried to evoke. Cézanne used three primary vantage points for these paintings: near his brother's property in Bellevue, near Bibemus quarry, and in Les Lauves. His scenes generally included Mont Sainte-Victoire itself, a grey-white limestone mountain, and the surrounding valley and plains that the mountain rose from.Cézanne's Mont Sainte-Victoire paintings fell into two main periods: those he executed during his so-called "period of synthesis," from roughly the 1870s to 1895, and those he created during his late period, from around 1895 until his death in 1906. Through both periods, Cézanne painted in watercolor as well as oil paints to capture Mont Sainte-Victoire with more transparency and lightness.Only half a year after the opening of the Aix-Marseille train line on October 15, 1877, in a letter to Émile Zola dated April 14, 1878, Cézanne praised Mont Sainte-Victoire, which he viewed from the train while passing through the railway bridge at Arc River Valley, as a "beau motif (beautiful motif)." Around this time, he began a series in which he tropicalized the mountain.These paintings belong to Post-Impressionism. Cézanne used geometry to describe nature and different colours to represent the depth of objects. Cézanne generally tried to convey the eternal, interior structure of the scene before him, more than the ephemeral surface features. While the Impressionists tried to depict nature directly as they saw it, Cézanne generally tried to convey a sense of what was beneath what the naked eye could see, though he still had a sharp eye for subtle changes in light and atmosphere. Cézanne tried to evoke emotions through his works and "find order in his sensations." The whole series embodies Cézanne's struggle to mold nature into art through geometric forms and effects of color.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: In Mont Sainte-Victoire (Cézanne), how is the Description discussed?

Montagne Sainte-Victoire is a mountain in southern France, overlooking Aix-en-Provence. It became the subject of a number of Cézanne's paintings, in total numbering about thirty paintings and watercolors.Mont Sainte-Victoire became one of Cézanne's most repeated and varied themes, with Cézanne changing something about the scene each time, from his angle to the lighting to the compositional specifics to the mood he tried to evoke. Cézanne used three primary vantage points for these paintings: near his brother's property in Bellevue, near Bibemus quarry, and in Les Lauves. His scenes generally included Mont Sainte-Victoire itself, a grey-white limestone mountain, and the surrounding valley and plains that the mountain rose from.Cézanne's Mont Sainte-Victoire paintings fell into two main periods: those he executed during his so-called "period of synthesis," from roughly the 1870s to 1895, and those he created during his late period, from around 1895 until his death in 1906. Through both periods, Cézanne painted in watercolor as well as oil paints to capture Mont Sainte-Victoire with more transparency and lightness.Only half a year after the opening of the Aix-Marseille train line on October 15, 1877, in a letter to Émile Zola dated April 14, 1878, Cézanne praised Mont Sainte-Victoire, which he viewed from the train while passing through the railway bridge at Arc River Valley, as a "beau motif (beautiful motif)." Around this time, he began a series in which he tropicalized the mountain.These paintings belong to Post-Impressionism. Cézanne used geometry to describe nature and different colours to represent the depth of objects. Cézanne generally tried to convey the eternal, interior structure of the scene before him, more than the ephemeral surface features. While the Impressionists tried to depict nature directly as they saw it, Cézanne generally tried to convey a sense of what was beneath what the naked eye could see, though he still had a sharp eye for subtle changes in light and atmosphere. Cézanne tried to evoke emotions through his works and "find order in his sensations." The whole series embodies Cézanne's struggle to mold nature into art through geometric forms and effects of color.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: Focus on Mont Sainte-Victoire (Cézanne) and explain the Cézanne background and context.

Cézanne lived in Aix for most of his life. He inherited his family estate after the death of his father, and was free of financial worries for the first time in his life, making him able to focus on art, which he pursued with "extraordinary patience and self-discipline."However, after his mother died in 1897, he was forced to sell his property outside Aix to settle her estate among him and his two sisters, Marie and Rose. The house finally sold in 1899. The loss of this house was a significant emotional blow for Cézanne. He ended up buying a property just north of Aix, on the hill Les Lauves, and built a studio in 1902. The property had a large view of Aix and the vast surrounding plains, including Mont Sainte-Victoire. This was where he completed most of his late period paintings.While Monet tried to finish landscape paintings in single sessions to capture the moment, Cézanne returned to Mont Sainte-Victoire repeatedly to accumulate a deep idea of the subject. This process resulted in literally timeless paintings, with the paintings not obviously reflecting a certain time of day, season, or even weather condition. Cézanne tried to create a clear sense of the interior structure of the landscape. He distorted the forms of Mont Sainte-Victoire subtly to create clear geometric shapes and pictorial balance.Cézanne was finally able to exhibit a one-man show in Paris in 1895, endorsed by Ambroise Vollard. It did not attract widespread attention, but it proved influential on younger artists, and Cézanne gradually acquired a "legendary reputation." His subsequent influence, before and after his death, has been varied but enduring.Cézanne turned against Impressionist naturalism to create a Post-Impressionist, Symbolist aesthetic. This developed specifically in the landscape tradition. Many artists at the time were reacting against the realism of Impressionist naturalism because of its emphasis on the transient. They wanted to pursue something more concrete and structured in order to arrive at a greater sense of truth in their paintings. This sentiment led to the Symbolist tradition.Landscape painters in the Symbolist tradition explored how the power of color and form could evoke emotion. They were interested in ambiguity and the emotive power of color and form. Some used the creation of timeless and subjective landscapes as a form of escapism. Cézanne specifically, in these paintings, explored the relationship between surface and depth, between plane and color, drawing tension between order and emotion. For Cézanne, Mont Sainte-Victoire embodied nature's grandeur and enduring nature. He  was convinced that each new painting of Mont Sainte-Victoire would offer some new insight into "another facet of its meaning or character," with the mountain assuming an abstract, elusive appeal.This period of paintings as a whole is crucial to understanding Cézanne's later work. They display "powerful geometric reductiveness," foreshadowing cubism and abstraction.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: Explain the Cézanne background and context of this artwork, Mont Sainte-Victoire (Cézanne).

Cézanne lived in Aix for most of his life. He inherited his family estate after the death of his father, and was free of financial worries for the first time in his life, making him able to focus on art, which he pursued with "extraordinary patience and self-discipline."However, after his mother died in 1897, he was forced to sell his property outside Aix to settle her estate among him and his two sisters, Marie and Rose. The house finally sold in 1899. The loss of this house was a significant emotional blow for Cézanne. He ended up buying a property just north of Aix, on the hill Les Lauves, and built a studio in 1902. The property had a large view of Aix and the vast surrounding plains, including Mont Sainte-Victoire. This was where he completed most of his late period paintings.While Monet tried to finish landscape paintings in single sessions to capture the moment, Cézanne returned to Mont Sainte-Victoire repeatedly to accumulate a deep idea of the subject. This process resulted in literally timeless paintings, with the paintings not obviously reflecting a certain time of day, season, or even weather condition. Cézanne tried to create a clear sense of the interior structure of the landscape. He distorted the forms of Mont Sainte-Victoire subtly to create clear geometric shapes and pictorial balance.Cézanne was finally able to exhibit a one-man show in Paris in 1895, endorsed by Ambroise Vollard. It did not attract widespread attention, but it proved influential on younger artists, and Cézanne gradually acquired a "legendary reputation." His subsequent influence, before and after his death, has been varied but enduring.Cézanne turned against Impressionist naturalism to create a Post-Impressionist, Symbolist aesthetic. This developed specifically in the landscape tradition. Many artists at the time were reacting against the realism of Impressionist naturalism because of its emphasis on the transient. They wanted to pursue something more concrete and structured in order to arrive at a greater sense of truth in their paintings. This sentiment led to the Symbolist tradition.Landscape painters in the Symbolist tradition explored how the power of color and form could evoke emotion. They were interested in ambiguity and the emotive power of color and form. Some used the creation of timeless and subjective landscapes as a form of escapism. Cézanne specifically, in these paintings, explored the relationship between surface and depth, between plane and color, drawing tension between order and emotion. For Cézanne, Mont Sainte-Victoire embodied nature's grandeur and enduring nature. He  was convinced that each new painting of Mont Sainte-Victoire would offer some new insight into "another facet of its meaning or character," with the mountain assuming an abstract, elusive appeal.This period of paintings as a whole is crucial to understanding Cézanne's later work. They display "powerful geometric reductiveness," foreshadowing cubism and abstraction.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: How does Mont Sainte-Victoire (Cézanne) explain its Cézanne background and context?

Cézanne lived in Aix for most of his life. He inherited his family estate after the death of his father, and was free of financial worries for the first time in his life, making him able to focus on art, which he pursued with "extraordinary patience and self-discipline."However, after his mother died in 1897, he was forced to sell his property outside Aix to settle her estate among him and his two sisters, Marie and Rose. The house finally sold in 1899. The loss of this house was a significant emotional blow for Cézanne. He ended up buying a property just north of Aix, on the hill Les Lauves, and built a studio in 1902. The property had a large view of Aix and the vast surrounding plains, including Mont Sainte-Victoire. This was where he completed most of his late period paintings.While Monet tried to finish landscape paintings in single sessions to capture the moment, Cézanne returned to Mont Sainte-Victoire repeatedly to accumulate a deep idea of the subject. This process resulted in literally timeless paintings, with the paintings not obviously reflecting a certain time of day, season, or even weather condition. Cézanne tried to create a clear sense of the interior structure of the landscape. He distorted the forms of Mont Sainte-Victoire subtly to create clear geometric shapes and pictorial balance.Cézanne was finally able to exhibit a one-man show in Paris in 1895, endorsed by Ambroise Vollard. It did not attract widespread attention, but it proved influential on younger artists, and Cézanne gradually acquired a "legendary reputation." His subsequent influence, before and after his death, has been varied but enduring.Cézanne turned against Impressionist naturalism to create a Post-Impressionist, Symbolist aesthetic. This developed specifically in the landscape tradition. Many artists at the time were reacting against the realism of Impressionist naturalism because of its emphasis on the transient. They wanted to pursue something more concrete and structured in order to arrive at a greater sense of truth in their paintings. This sentiment led to the Symbolist tradition.Landscape painters in the Symbolist tradition explored how the power of color and form could evoke emotion. They were interested in ambiguity and the emotive power of color and form. Some used the creation of timeless and subjective landscapes as a form of escapism. Cézanne specifically, in these paintings, explored the relationship between surface and depth, between plane and color, drawing tension between order and emotion. For Cézanne, Mont Sainte-Victoire embodied nature's grandeur and enduring nature. He  was convinced that each new painting of Mont Sainte-Victoire would offer some new insight into "another facet of its meaning or character," with the mountain assuming an abstract, elusive appeal.This period of paintings as a whole is crucial to understanding Cézanne's later work. They display "powerful geometric reductiveness," foreshadowing cubism and abstraction.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland


Mont Sainte-Victoire (Cézanne)

Prompt: In Mont Sainte-Victoire (Cézanne), how is the Cézanne background and context discussed?

Cézanne lived in Aix for most of his life. He inherited his family estate after the death of his father, and was free of financial worries for the first time in his life, making him able to focus on art, which he pursued with "extraordinary patience and self-discipline."However, after his mother died in 1897, he was forced to sell his property outside Aix to settle her estate among him and his two sisters, Marie and Rose. The house finally sold in 1899. The loss of this house was a significant emotional blow for Cézanne. He ended up buying a property just north of Aix, on the hill Les Lauves, and built a studio in 1902. The property had a large view of Aix and the vast surrounding plains, including Mont Sainte-Victoire. This was where he completed most of his late period paintings.While Monet tried to finish landscape paintings in single sessions to capture the moment, Cézanne returned to Mont Sainte-Victoire repeatedly to accumulate a deep idea of the subject. This process resulted in literally timeless paintings, with the paintings not obviously reflecting a certain time of day, season, or even weather condition. Cézanne tried to create a clear sense of the interior structure of the landscape. He distorted the forms of Mont Sainte-Victoire subtly to create clear geometric shapes and pictorial balance.Cézanne was finally able to exhibit a one-man show in Paris in 1895, endorsed by Ambroise Vollard. It did not attract widespread attention, but it proved influential on younger artists, and Cézanne gradually acquired a "legendary reputation." His subsequent influence, before and after his death, has been varied but enduring.Cézanne turned against Impressionist naturalism to create a Post-Impressionist, Symbolist aesthetic. This developed specifically in the landscape tradition. Many artists at the time were reacting against the realism of Impressionist naturalism because of its emphasis on the transient. They wanted to pursue something more concrete and structured in order to arrive at a greater sense of truth in their paintings. This sentiment led to the Symbolist tradition.Landscape painters in the Symbolist tradition explored how the power of color and form could evoke emotion. They were interested in ambiguity and the emotive power of color and form. Some used the creation of timeless and subjective landscapes as a form of escapism. Cézanne specifically, in these paintings, explored the relationship between surface and depth, between plane and color, drawing tension between order and emotion. For Cézanne, Mont Sainte-Victoire embodied nature's grandeur and enduring nature. He  was convinced that each new painting of Mont Sainte-Victoire would offer some new insight into "another facet of its meaning or character," with the mountain assuming an abstract, elusive appeal.This period of paintings as a whole is crucial to understanding Cézanne's later work. They display "powerful geometric reductiveness," foreshadowing cubism and abstraction.

Category:Paintings in the Pushkin Museum

Mont Sainte-Victoire and the Viaduct of the Arc River Valley

Category:Paintings in National Galleries Scotland