Divine Comedy Illustrated by Botticelli

Prompt: Explain the Structure and innovations of this artwork, Divine Comedy Illustrated by Botticelli.

Botticelli's manuscripts incorporate several innovations in the way text and images are presented in the volume. In other similar illustrated manuscripts of Dante's Inferno, multiple illustrations were used to depict the events described in a canto. In addition,  most of the space in a page was given to the illustration and associated commentary while  the text portion was smaller in comparison. Therefore, a single canto spread over multiple pages. Botticelli's text and illustration arrangement innovates by presenting the text on a single page in four vertical columns.In addition, unlike similar works, Botticelli's manuscript uses but a single illustration per canto, which occupied a whole page, presenting a unified depiction of the sequence of events of a canto in a vertical format. This way, the readers know that when they advance to a new page, they enter the thematic sequence of a new canto. The text of each canto, from left to right, matches, to a high degree, the pictorial representation as the reader views the illustration from the upper left corner and then proceeds downwards. This reflects the vertical structure of the descent of the two poets through the nine circles of Hell. The additional two illustrations of the Map of Hell and Lucifer lie outside this canto-text structure, thus providing an element of continuity which unifies the work.  Lucifer's second drawing by Botticelli from Inferno XXXIV spans across two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of Inferno canto XXXIV and shows Lucifer's geographical position in  Hell.Botticelli renders vertically the ground planes of the illustrations of the second and third rounds of Inferno. Although the illustrations for the first three rounds depict different imagery, the vertical perspective links them into a single unit. The third round consists of the illustrations for cantos XV, XVI and XVII, which depict the punishment of those who sinned by violence against God, nature and art.Botticelli uses thirteen drawings to illustrate the eighth circle of Hell, depicting ten chasms that Dante and Virgil descend through a ridge.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: How does Divine Comedy Illustrated by Botticelli explain its Structure and innovations?

Botticelli's manuscripts incorporate several innovations in the way text and images are presented in the volume. In other similar illustrated manuscripts of Dante's Inferno, multiple illustrations were used to depict the events described in a canto. In addition,  most of the space in a page was given to the illustration and associated commentary while  the text portion was smaller in comparison. Therefore, a single canto spread over multiple pages. Botticelli's text and illustration arrangement innovates by presenting the text on a single page in four vertical columns.In addition, unlike similar works, Botticelli's manuscript uses but a single illustration per canto, which occupied a whole page, presenting a unified depiction of the sequence of events of a canto in a vertical format. This way, the readers know that when they advance to a new page, they enter the thematic sequence of a new canto. The text of each canto, from left to right, matches, to a high degree, the pictorial representation as the reader views the illustration from the upper left corner and then proceeds downwards. This reflects the vertical structure of the descent of the two poets through the nine circles of Hell. The additional two illustrations of the Map of Hell and Lucifer lie outside this canto-text structure, thus providing an element of continuity which unifies the work.  Lucifer's second drawing by Botticelli from Inferno XXXIV spans across two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of Inferno canto XXXIV and shows Lucifer's geographical position in  Hell.Botticelli renders vertically the ground planes of the illustrations of the second and third rounds of Inferno. Although the illustrations for the first three rounds depict different imagery, the vertical perspective links them into a single unit. The third round consists of the illustrations for cantos XV, XVI and XVII, which depict the punishment of those who sinned by violence against God, nature and art.Botticelli uses thirteen drawings to illustrate the eighth circle of Hell, depicting ten chasms that Dante and Virgil descend through a ridge.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: In Divine Comedy Illustrated by Botticelli, how is the Structure and innovations discussed?

Botticelli's manuscripts incorporate several innovations in the way text and images are presented in the volume. In other similar illustrated manuscripts of Dante's Inferno, multiple illustrations were used to depict the events described in a canto. In addition,  most of the space in a page was given to the illustration and associated commentary while  the text portion was smaller in comparison. Therefore, a single canto spread over multiple pages. Botticelli's text and illustration arrangement innovates by presenting the text on a single page in four vertical columns.In addition, unlike similar works, Botticelli's manuscript uses but a single illustration per canto, which occupied a whole page, presenting a unified depiction of the sequence of events of a canto in a vertical format. This way, the readers know that when they advance to a new page, they enter the thematic sequence of a new canto. The text of each canto, from left to right, matches, to a high degree, the pictorial representation as the reader views the illustration from the upper left corner and then proceeds downwards. This reflects the vertical structure of the descent of the two poets through the nine circles of Hell. The additional two illustrations of the Map of Hell and Lucifer lie outside this canto-text structure, thus providing an element of continuity which unifies the work.  Lucifer's second drawing by Botticelli from Inferno XXXIV spans across two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of Inferno canto XXXIV and shows Lucifer's geographical position in  Hell.Botticelli renders vertically the ground planes of the illustrations of the second and third rounds of Inferno. Although the illustrations for the first three rounds depict different imagery, the vertical perspective links them into a single unit. The third round consists of the illustrations for cantos XV, XVI and XVII, which depict the punishment of those who sinned by violence against God, nature and art.Botticelli uses thirteen drawings to illustrate the eighth circle of Hell, depicting ten chasms that Dante and Virgil descend through a ridge.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: Focus on Divine Comedy Illustrated by Botticelli and explain the Dimensions.

Each page of the manuscript was approximately 32 cm high by 47 cm wide. Since the text of each canto was written on a single page and the accompanying illustration was on a separate page, arranging the two pages in a horizontal format would have been impractical as it would be approximately 94 centimetres (37 in) wide. This would entail the readers turning their heads from left to right while trying to connect the text columns on the left to the illustration on the right. A vertical arrangement, stacking the illustration page on top of the text page, is a more efficient way of combining the text-illustration pair; a volume designed to open vertically is a more probable scenario for Botticelli's manuscript. If the manuscript's binding were to open vertically, the dimensions would be approximately 47 centimetres (19 in) wide by 64 centimetres (25 in) high, and would incorporate both the text and the illustration on a single page. This would have made reading the text and looking at the drawing of each canto easier and more efficient.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: Explain the Dimensions of this artwork, Divine Comedy Illustrated by Botticelli.

Each page of the manuscript was approximately 32 cm high by 47 cm wide. Since the text of each canto was written on a single page and the accompanying illustration was on a separate page, arranging the two pages in a horizontal format would have been impractical as it would be approximately 94 centimetres (37 in) wide. This would entail the readers turning their heads from left to right while trying to connect the text columns on the left to the illustration on the right. A vertical arrangement, stacking the illustration page on top of the text page, is a more efficient way of combining the text-illustration pair; a volume designed to open vertically is a more probable scenario for Botticelli's manuscript. If the manuscript's binding were to open vertically, the dimensions would be approximately 47 centimetres (19 in) wide by 64 centimetres (25 in) high, and would incorporate both the text and the illustration on a single page. This would have made reading the text and looking at the drawing of each canto easier and more efficient.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: How does Divine Comedy Illustrated by Botticelli explain its Dimensions?

Each page of the manuscript was approximately 32 cm high by 47 cm wide. Since the text of each canto was written on a single page and the accompanying illustration was on a separate page, arranging the two pages in a horizontal format would have been impractical as it would be approximately 94 centimetres (37 in) wide. This would entail the readers turning their heads from left to right while trying to connect the text columns on the left to the illustration on the right. A vertical arrangement, stacking the illustration page on top of the text page, is a more efficient way of combining the text-illustration pair; a volume designed to open vertically is a more probable scenario for Botticelli's manuscript. If the manuscript's binding were to open vertically, the dimensions would be approximately 47 centimetres (19 in) wide by 64 centimetres (25 in) high, and would incorporate both the text and the illustration on a single page. This would have made reading the text and looking at the drawing of each canto easier and more efficient.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: In Divine Comedy Illustrated by Botticelli, how is the Dimensions discussed?

Each page of the manuscript was approximately 32 cm high by 47 cm wide. Since the text of each canto was written on a single page and the accompanying illustration was on a separate page, arranging the two pages in a horizontal format would have been impractical as it would be approximately 94 centimetres (37 in) wide. This would entail the readers turning their heads from left to right while trying to connect the text columns on the left to the illustration on the right. A vertical arrangement, stacking the illustration page on top of the text page, is a more efficient way of combining the text-illustration pair; a volume designed to open vertically is a more probable scenario for Botticelli's manuscript. If the manuscript's binding were to open vertically, the dimensions would be approximately 47 centimetres (19 in) wide by 64 centimetres (25 in) high, and would incorporate both the text and the illustration on a single page. This would have made reading the text and looking at the drawing of each canto easier and more efficient.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: Focus on Divine Comedy Illustrated by Botticelli and explain the Content location.

The Vatican Library has the drawing of the Map of Hell, and the illustrations for cantos I, IX, X, XII, XIII, XV and XVI of the Inferno. The Map of Hell and the drawing for canto I are drawn on each side of the same goat-skin parchment. The drawings that were in the Berlin Museum were separated post-war after the division of  Germany, but the collection was re-integrated following reunification. The Berlin Museum houses the rest of the extant illustrations, including the drawing for canto VIII. The sequence of the Inferno drawings for cantos XVII to canto XXX for Paradiso is without gaps. The page for the drawing of canto XXXI appears blank, and the sequence ends with the unfinished drawing for canto XXXII.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: Explain the Content location of this artwork, Divine Comedy Illustrated by Botticelli.

The Vatican Library has the drawing of the Map of Hell, and the illustrations for cantos I, IX, X, XII, XIII, XV and XVI of the Inferno. The Map of Hell and the drawing for canto I are drawn on each side of the same goat-skin parchment. The drawings that were in the Berlin Museum were separated post-war after the division of  Germany, but the collection was re-integrated following reunification. The Berlin Museum houses the rest of the extant illustrations, including the drawing for canto VIII. The sequence of the Inferno drawings for cantos XVII to canto XXX for Paradiso is without gaps. The page for the drawing of canto XXXI appears blank, and the sequence ends with the unfinished drawing for canto XXXII.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: How does Divine Comedy Illustrated by Botticelli explain its Content location?

The Vatican Library has the drawing of the Map of Hell, and the illustrations for cantos I, IX, X, XII, XIII, XV and XVI of the Inferno. The Map of Hell and the drawing for canto I are drawn on each side of the same goat-skin parchment. The drawings that were in the Berlin Museum were separated post-war after the division of  Germany, but the collection was re-integrated following reunification. The Berlin Museum houses the rest of the extant illustrations, including the drawing for canto VIII. The sequence of the Inferno drawings for cantos XVII to canto XXX for Paradiso is without gaps. The page for the drawing of canto XXXI appears blank, and the sequence ends with the unfinished drawing for canto XXXII.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: In Divine Comedy Illustrated by Botticelli, how is the Content location discussed?

The Vatican Library has the drawing of the Map of Hell, and the illustrations for cantos I, IX, X, XII, XIII, XV and XVI of the Inferno. The Map of Hell and the drawing for canto I are drawn on each side of the same goat-skin parchment. The drawings that were in the Berlin Museum were separated post-war after the division of  Germany, but the collection was re-integrated following reunification. The Berlin Museum houses the rest of the extant illustrations, including the drawing for canto VIII. The sequence of the Inferno drawings for cantos XVII to canto XXX for Paradiso is without gaps. The page for the drawing of canto XXXI appears blank, and the sequence ends with the unfinished drawing for canto XXXII.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: Focus on Divine Comedy Illustrated by Botticelli and explain the Film.

The 2016 film Botticelli Inferno is based on the history of the illustrated manuscript.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: Explain the Film of this artwork, Divine Comedy Illustrated by Botticelli.

The 2016 film Botticelli Inferno is based on the history of the illustrated manuscript.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: How does Divine Comedy Illustrated by Botticelli explain its Film?

The 2016 film Botticelli Inferno is based on the history of the illustrated manuscript.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Divine Comedy Illustrated by Botticelli

Prompt: In Divine Comedy Illustrated by Botticelli, how is the Film discussed?

The 2016 film Botticelli Inferno is based on the history of the illustrated manuscript.

Engraving by Baldini after Botticelli, from the 1481 book

Category:Manuscripts of the Vatican Library

''Inferno'' X, with just Dante (in red) and Virgil (in blue) coloured.

File:Sandro Botticelli - Illustration to the Divine Comedy (Inferno) - WGA02859.jpg

The illustration for canto XV is part of the third round of Inferno, depicting the punishment of those who acted violently against God, nature, and art.<ref name="jstorp180"/>

File:Sandro Botticelli - Inferno, Canto XVIII - WGA02854.jpg

File:Illustration for Dante's Inferno by Sandro Botticelli 1481.jpg

File:Botticelli's Lucifer Inferno XXXIV.png

Category:Objects in the Staatliche Museen zu Berlin

Lucifer's second drawing by Botticelli from ''Inferno'' XXXIV. Lucifer's picture spans two pages, and lies outside the text-illustration structure, unifying the narrative of the series. It also illustrates the full story of ''Inferno'' canto XXXIV and shows Lucifer's geographical position in  Hell.<ref name="jstorp193"/>

Category:Works based on Paradiso (Dante)

Paradise, Canto XXX. The vegetation and small figures to the left of the path have been inked over; on the right only the [[silverpoint

Canto XVIII, part of the 8th circle of Hell.  Dante and Virgil are each shown 6 times, descending through the 10 chasms of the circle via a ridge.  One of only 4 fully coloured pages.<ref name="jstorp182"/>

File:Sandro Botticelli - Paradise, Canto XXX - WGA02862.jpg


Les raboteurs de parquet

Prompt: Focus on Les raboteurs de parquet and explain the abstract.

Les raboteurs de parquet (English title: The Floor Scrapers) is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures 102 by 146.5 centimetres (40.2 in × 57.7 in). It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Explain the abstract of this artwork, Les raboteurs de parquet.

Les raboteurs de parquet (English title: The Floor Scrapers) is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures 102 by 146.5 centimetres (40.2 in × 57.7 in). It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: How does Les raboteurs de parquet explain its abstract?

Les raboteurs de parquet (English title: The Floor Scrapers) is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures 102 by 146.5 centimetres (40.2 in × 57.7 in). It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: In Les raboteurs de parquet, how is the abstract discussed?

Les raboteurs de parquet (English title: The Floor Scrapers) is an oil painting by French Impressionist Gustave Caillebotte. The canvas measures 102 by 146.5 centimetres (40.2 in × 57.7 in). It was originally given by Caillebotte's family in 1894 to the Musée du Luxembourg, then transferred to the Musée du Louvre in 1929. In 1947, it was moved to the Galerie nationale du Jeu de Paume, and in 1986, it was transferred again to the Musée d'Orsay in Paris, where it is currently displayed.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Focus on Les raboteurs de parquet and explain the Composition.

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Explain the Composition of this artwork, Les raboteurs de parquet.

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: How does Les raboteurs de parquet explain its Composition?

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: In Les raboteurs de parquet, how is the Composition discussed?

Caillebotte's originality lays in his attempt to combine the careful drawing, modeling and exact tonal values encouraged by the Académie with vivid colors, bold perspectives, keen sense of natural light and modern subject matter of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, the observer stands above three workers on hands and knees, scraping a wooden floor in a bourgeois apartment—now believed to be Caillebotte's own studio at 77, rue de Miromesnil, in the 8th arrondissement of Paris. A window on the back wall admits natural light. The workers are all shown with nude torsos and tilted heads, suggesting a conversation. Caillebotte's interest in the male nude, set in a modern context, has been linked to his presumed homosexuality, however it was part of a larger trend, not necessarily limited to homosexual artists, that was first introduced by Courbet in a painting of two wrestlers. This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life—sinewy and strong—in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor. There is a motif of curls in the image, from the wood shavings on the floor, to the pattern of ironwork in the window grill to the arched backs and arms of the workers. The repetition in the image, with the three workers engaged in different aspects of the same activity but having similar poses, is similar to works by Caillebotte's contemporary, Edgar Degas.

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Focus on Les raboteurs de parquet and explain the Exhibition and reception.

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Explain the Exhibition and reception of this artwork, Les raboteurs de parquet.

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: How does Les raboteurs de parquet explain its Exhibition and reception?

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: In Les raboteurs de parquet, how is the Exhibition and reception discussed?

Despite the effort Caillebotte put into the painting, it was rejected by France's most prestigious art exhibition, the Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a "vulgar subject matter". He was hurt by this rejection, and instead showed it at the second exhibition of the Impressionists, with whom he had already associated himself, in 1876. He presented it alongside some of his other works, including a second, different version of Raboteurs from 1876, and his earlier work Jeune homme à sa fenêtre (Young Man at His Window) The images of the floor scrapers came to be associated with Degas's paintings of washerwomen, also presented at the same exhibition and similarly scorned as "vulgar".The painting divided opinion in Paris art circles. Among the detractors, Emile Porchoron, a critic of Impressionism, damned Caillebotte with faint praise: "the least bad of the exhibition. One of the missions Impressionism seems to have set for itself is to torture perspective: you see here what results can be obtained." Émile Zola praised the technical execution, but then called it "an anti-artistic painting, painting as neat as glass, bourgeois painting, because of the exactitude of the copying." Louis Énault was not troubled by the depiction ("The subject matter is certainly vulgar, but we can understand how it might tempt a painter") but did find fault with the image's fidelity to the scene: "I only regret that the artist did not choose his types better... The arms of the planers are too thin, and their chests too narrow... may your nude be handsome or don't get involved with it!"The painting received praise from many critics, though. Regarding the Salon rejection, poet and critic Émile Blémont called the decision "[a] very bad mark for the official jurors". Marius Chaumelin compared Caillebotte favorably to his contemporaries, writing that the work showed that he was "a realist just as raw, but much more witty, than Courbet, just as violent, but altogether more precise, than Manet." Philippe Burty made comparisons to an even earlier generation of artists: "His pictures are original in their composition, but, more than that, so energetic as to drawing that they resemble the early Florentines."

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Focus on Les raboteurs de parquet and explain the Cultural depictions.

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: Explain the Cultural depictions of this artwork, Les raboteurs de parquet.

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: How does Les raboteurs de parquet explain its Cultural depictions?

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Les raboteurs de parquet

Prompt: In Les raboteurs de parquet, how is the Cultural depictions discussed?

Les Raboteurs, choreography by Angelin Preljocaj, music by Thierry Lancino, film by Cyril Collard (co-production with Musée d'Orsay, La Sept, Opus 10-19; 1988).

1876 version of the same subject by Caillebotte

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

second, different version of ''Raboteurs''

File:Gustave Caillebotte - The Floor Planers - Detail of Google Art Project.jpg


Prompt: Focus on Pendant portraits of Maerten Soolmans and Oopjen Coppit and explain the abstract.

The pendant  portraits of Maerten Soolmans and Oopjen Coppit are a pair of full-length wedding portraits by Rembrandt.  They were painted on the occasion of the marriage of Maerten Soolmans and Oopjen Coppit in 1634. Formerly owned by the Rothschild family, they became jointly owned by the Louvre Museum and the Rijksmuseum in 2015 after both museums managed to contribute half of the purchase price of €160 million, a record for works by Rembrandt.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Explain the abstract of this artwork, Pendant portraits of Maerten Soolmans and Oopjen Coppit.

The pendant  portraits of Maerten Soolmans and Oopjen Coppit are a pair of full-length wedding portraits by Rembrandt.  They were painted on the occasion of the marriage of Maerten Soolmans and Oopjen Coppit in 1634. Formerly owned by the Rothschild family, they became jointly owned by the Louvre Museum and the Rijksmuseum in 2015 after both museums managed to contribute half of the purchase price of €160 million, a record for works by Rembrandt.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: How does Pendant portraits of Maerten Soolmans and Oopjen Coppit explain its abstract?

The pendant  portraits of Maerten Soolmans and Oopjen Coppit are a pair of full-length wedding portraits by Rembrandt.  They were painted on the occasion of the marriage of Maerten Soolmans and Oopjen Coppit in 1634. Formerly owned by the Rothschild family, they became jointly owned by the Louvre Museum and the Rijksmuseum in 2015 after both museums managed to contribute half of the purchase price of €160 million, a record for works by Rembrandt.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: In Pendant portraits of Maerten Soolmans and Oopjen Coppit, how is the abstract discussed?

The pendant  portraits of Maerten Soolmans and Oopjen Coppit are a pair of full-length wedding portraits by Rembrandt.  They were painted on the occasion of the marriage of Maerten Soolmans and Oopjen Coppit in 1634. Formerly owned by the Rothschild family, they became jointly owned by the Louvre Museum and the Rijksmuseum in 2015 after both museums managed to contribute half of the purchase price of €160 million, a record for works by Rembrandt.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Focus on Pendant portraits of Maerten Soolmans and Oopjen Coppit and explain the History.

The portraits were painted by Rembrandt upon the occasion of the wedding of Maerten Soolmans and Oopjen Coppit in 1634. Although the subjects were painted individually, the portraits have been kept together since their inception. Unlike many 17th-century portrait pairs, these two have always hung side by side in various collections based in Amsterdam or Paris. They are also unusual in Rembrandt's oeuvre for their size and the fact that they show the subjects at full length. Appearing in period inventories at regular intervals since their creation, together they form part of Rembrandt's core oeuvre against which other paintings with a more questionable lineage are compared. The subjects Maerten Soolmans and his wife Oopjen Coppit are dressed as befits a pair of wealthy Amsterdam newlyweds. Though most in the art world agree these paintings should remain together, it became impossible for France to keep them within its borders, as the Louvre was unable to guarantee the necessary funding required to keep the ministry of culture from providing an export permit. The paintings have not been declared French national heritage.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Explain the History of this artwork, Pendant portraits of Maerten Soolmans and Oopjen Coppit.

The portraits were painted by Rembrandt upon the occasion of the wedding of Maerten Soolmans and Oopjen Coppit in 1634. Although the subjects were painted individually, the portraits have been kept together since their inception. Unlike many 17th-century portrait pairs, these two have always hung side by side in various collections based in Amsterdam or Paris. They are also unusual in Rembrandt's oeuvre for their size and the fact that they show the subjects at full length. Appearing in period inventories at regular intervals since their creation, together they form part of Rembrandt's core oeuvre against which other paintings with a more questionable lineage are compared. The subjects Maerten Soolmans and his wife Oopjen Coppit are dressed as befits a pair of wealthy Amsterdam newlyweds. Though most in the art world agree these paintings should remain together, it became impossible for France to keep them within its borders, as the Louvre was unable to guarantee the necessary funding required to keep the ministry of culture from providing an export permit. The paintings have not been declared French national heritage.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: How does Pendant portraits of Maerten Soolmans and Oopjen Coppit explain its History?

The portraits were painted by Rembrandt upon the occasion of the wedding of Maerten Soolmans and Oopjen Coppit in 1634. Although the subjects were painted individually, the portraits have been kept together since their inception. Unlike many 17th-century portrait pairs, these two have always hung side by side in various collections based in Amsterdam or Paris. They are also unusual in Rembrandt's oeuvre for their size and the fact that they show the subjects at full length. Appearing in period inventories at regular intervals since their creation, together they form part of Rembrandt's core oeuvre against which other paintings with a more questionable lineage are compared. The subjects Maerten Soolmans and his wife Oopjen Coppit are dressed as befits a pair of wealthy Amsterdam newlyweds. Though most in the art world agree these paintings should remain together, it became impossible for France to keep them within its borders, as the Louvre was unable to guarantee the necessary funding required to keep the ministry of culture from providing an export permit. The paintings have not been declared French national heritage.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: In Pendant portraits of Maerten Soolmans and Oopjen Coppit, how is the History discussed?

The portraits were painted by Rembrandt upon the occasion of the wedding of Maerten Soolmans and Oopjen Coppit in 1634. Although the subjects were painted individually, the portraits have been kept together since their inception. Unlike many 17th-century portrait pairs, these two have always hung side by side in various collections based in Amsterdam or Paris. They are also unusual in Rembrandt's oeuvre for their size and the fact that they show the subjects at full length. Appearing in period inventories at regular intervals since their creation, together they form part of Rembrandt's core oeuvre against which other paintings with a more questionable lineage are compared. The subjects Maerten Soolmans and his wife Oopjen Coppit are dressed as befits a pair of wealthy Amsterdam newlyweds. Though most in the art world agree these paintings should remain together, it became impossible for France to keep them within its borders, as the Louvre was unable to guarantee the necessary funding required to keep the ministry of culture from providing an export permit. The paintings have not been declared French national heritage.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Focus on Pendant portraits of Maerten Soolmans and Oopjen Coppit and explain the Portrait of Maerten Soolmans.

Portrait of Maerten Soolmans (1613-1641) was documented by Hofstede de Groot in 1915, who wrote:637 MAERTEN DAEY (1604-after 1650). Sm. 340.; Bode 303; Dut. 208; Wb. 316; B.-HdG. 107. Full length; life size. About thirty. He is seen almost in full face. He walks a little to the right on the parti-coloured stone floor, at the back of which is a step. He wears a very rich black costume, consisting of a coat with large stripes, breeches, and a short cloak of the same material, a broad and close-fitting lace collar, smooth cuffs, rosettes of lace at his waistband and on his shoes, and white stockings, with bows of rich lace on his garters. A broad-brimmed black slouch hat covers his thick fair hair; he has a plump and beardless face. His right hand rests on his hip under the cloak; his out-stretched left hand holds a glove. In the right background is a bluish-green curtain. [Pendant to 638.]Signed on the left at foot, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in the Nederlandsche Kunstbode, 1879, p. 2; and in Dutuit. Mentioned by Vosmaer, pp. 145, 502; Bode, p. 402; Dutuit, p. 52; Michel, p. 148 [112-14, 436]; Moes, 1881. Exhibited at Amsterdam 1867, No. 161.Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pair to Van Winter for 12,000 florins). In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons. In the Van Loon collection, Amsterdam; sold as a whole in 1877 to the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris. In the collection of Baron Robert de Rothschild, Paris.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Explain the Portrait of Maerten Soolmans of this artwork, Pendant portraits of Maerten Soolmans and Oopjen Coppit.

Portrait of Maerten Soolmans (1613-1641) was documented by Hofstede de Groot in 1915, who wrote:637 MAERTEN DAEY (1604-after 1650). Sm. 340.; Bode 303; Dut. 208; Wb. 316; B.-HdG. 107. Full length; life size. About thirty. He is seen almost in full face. He walks a little to the right on the parti-coloured stone floor, at the back of which is a step. He wears a very rich black costume, consisting of a coat with large stripes, breeches, and a short cloak of the same material, a broad and close-fitting lace collar, smooth cuffs, rosettes of lace at his waistband and on his shoes, and white stockings, with bows of rich lace on his garters. A broad-brimmed black slouch hat covers his thick fair hair; he has a plump and beardless face. His right hand rests on his hip under the cloak; his out-stretched left hand holds a glove. In the right background is a bluish-green curtain. [Pendant to 638.]Signed on the left at foot, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in the Nederlandsche Kunstbode, 1879, p. 2; and in Dutuit. Mentioned by Vosmaer, pp. 145, 502; Bode, p. 402; Dutuit, p. 52; Michel, p. 148 [112-14, 436]; Moes, 1881. Exhibited at Amsterdam 1867, No. 161.Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pair to Van Winter for 12,000 florins). In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons. In the Van Loon collection, Amsterdam; sold as a whole in 1877 to the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris. In the collection of Baron Robert de Rothschild, Paris.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: How does Pendant portraits of Maerten Soolmans and Oopjen Coppit explain its Portrait of Maerten Soolmans?

Portrait of Maerten Soolmans (1613-1641) was documented by Hofstede de Groot in 1915, who wrote:637 MAERTEN DAEY (1604-after 1650). Sm. 340.; Bode 303; Dut. 208; Wb. 316; B.-HdG. 107. Full length; life size. About thirty. He is seen almost in full face. He walks a little to the right on the parti-coloured stone floor, at the back of which is a step. He wears a very rich black costume, consisting of a coat with large stripes, breeches, and a short cloak of the same material, a broad and close-fitting lace collar, smooth cuffs, rosettes of lace at his waistband and on his shoes, and white stockings, with bows of rich lace on his garters. A broad-brimmed black slouch hat covers his thick fair hair; he has a plump and beardless face. His right hand rests on his hip under the cloak; his out-stretched left hand holds a glove. In the right background is a bluish-green curtain. [Pendant to 638.]Signed on the left at foot, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in the Nederlandsche Kunstbode, 1879, p. 2; and in Dutuit. Mentioned by Vosmaer, pp. 145, 502; Bode, p. 402; Dutuit, p. 52; Michel, p. 148 [112-14, 436]; Moes, 1881. Exhibited at Amsterdam 1867, No. 161.Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pair to Van Winter for 12,000 florins). In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons. In the Van Loon collection, Amsterdam; sold as a whole in 1877 to the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris. In the collection of Baron Robert de Rothschild, Paris.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: In Pendant portraits of Maerten Soolmans and Oopjen Coppit, how is the Portrait of Maerten Soolmans discussed?

Portrait of Maerten Soolmans (1613-1641) was documented by Hofstede de Groot in 1915, who wrote:637 MAERTEN DAEY (1604-after 1650). Sm. 340.; Bode 303; Dut. 208; Wb. 316; B.-HdG. 107. Full length; life size. About thirty. He is seen almost in full face. He walks a little to the right on the parti-coloured stone floor, at the back of which is a step. He wears a very rich black costume, consisting of a coat with large stripes, breeches, and a short cloak of the same material, a broad and close-fitting lace collar, smooth cuffs, rosettes of lace at his waistband and on his shoes, and white stockings, with bows of rich lace on his garters. A broad-brimmed black slouch hat covers his thick fair hair; he has a plump and beardless face. His right hand rests on his hip under the cloak; his out-stretched left hand holds a glove. In the right background is a bluish-green curtain. [Pendant to 638.]Signed on the left at foot, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in the Nederlandsche Kunstbode, 1879, p. 2; and in Dutuit. Mentioned by Vosmaer, pp. 145, 502; Bode, p. 402; Dutuit, p. 52; Michel, p. 148 [112-14, 436]; Moes, 1881. Exhibited at Amsterdam 1867, No. 161.Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pair to Van Winter for 12,000 florins). In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons. In the Van Loon collection, Amsterdam; sold as a whole in 1877 to the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris. In the collection of Baron Robert de Rothschild, Paris.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Focus on Pendant portraits of Maerten Soolmans and Oopjen Coppit and explain the Portrait of Oopjen Coppit.

Portrait of Oopjen Coppit (1611-1689) was documented by Hofstede de Groot in 1915, who wrote:638 MACHTELD VAN DOORN (1605-1646), from 1629 the wife of Martin Daey. Sm. 551.; Bode 304; Dut. 209; Wb. 317; B.-HdG. 108. Full length; life size. About thirty. She walks to the left along a footpath paved with stones, and looks at the spectator. She holds up in her right hand, by a gold chain, a rich fan of black ostrich feathers; with her left hand, as she descends a step, she lightly raises her handsome spotted gown of black silk with a high bodice, against which her broad and close-fitting lace collar and her lace-trimmed wristbands stand out in relief. At her waistband and on her shoe are rosettes of lace. Her fair curls are caught up at the back in a cap; a thick black veil falls from it down her back. At her throat and on her arms are several strings of pearls, and there is a pearl in each ear. A gold ring hangs by a fine chain from her lace collar. In the right background is a bluish-green curtain. [Pendant to 637.]Signed, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in Dutuit; and in the Nederlandsche Kunstbode, 1879. Mentioned by Vosmaer, pp. 254, 533; Bode, p. 402; Dutuit, p. 52; Michel, p. 148 [112-14, 436]; Moes, 2075. Exhibited at Amsterdam, 1867, No. 162. Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pictures for 12,000 florins to Van Winter).In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons, and was acquired as a whole in 1877 by the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris. In the collection of Baron Robert de Rothschild, Paris.Oopjen is wearing a flat lace collar with matching wrist collars in the latest fashion. Other Amsterdam brides of the regency class wore millstone collars well into the 1640s. She is also wearing a pearl necklace and a pearl bracelet, and pearls were considered more valuable than diamonds at that time. The format of the paintings showing the couple at full length was the most expensive form of marriage pendant and could only fit in a house with high ceilings. According to family inventories, they also owned another Rembrandt depicting the Holy Family. It is assumed that this is the Holy Family now in Munich, as that is also dated to 1634.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Explain the Portrait of Oopjen Coppit of this artwork, Pendant portraits of Maerten Soolmans and Oopjen Coppit.

Portrait of Oopjen Coppit (1611-1689) was documented by Hofstede de Groot in 1915, who wrote:638 MACHTELD VAN DOORN (1605-1646), from 1629 the wife of Martin Daey. Sm. 551.; Bode 304; Dut. 209; Wb. 317; B.-HdG. 108. Full length; life size. About thirty. She walks to the left along a footpath paved with stones, and looks at the spectator. She holds up in her right hand, by a gold chain, a rich fan of black ostrich feathers; with her left hand, as she descends a step, she lightly raises her handsome spotted gown of black silk with a high bodice, against which her broad and close-fitting lace collar and her lace-trimmed wristbands stand out in relief. At her waistband and on her shoe are rosettes of lace. Her fair curls are caught up at the back in a cap; a thick black veil falls from it down her back. At her throat and on her arms are several strings of pearls, and there is a pearl in each ear. A gold ring hangs by a fine chain from her lace collar. In the right background is a bluish-green curtain. [Pendant to 637.]Signed, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in Dutuit; and in the Nederlandsche Kunstbode, 1879. Mentioned by Vosmaer, pp. 254, 533; Bode, p. 402; Dutuit, p. 52; Michel, p. 148 [112-14, 436]; Moes, 2075. Exhibited at Amsterdam, 1867, No. 162. Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pictures for 12,000 florins to Van Winter).In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons, and was acquired as a whole in 1877 by the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris. In the collection of Baron Robert de Rothschild, Paris.Oopjen is wearing a flat lace collar with matching wrist collars in the latest fashion. Other Amsterdam brides of the regency class wore millstone collars well into the 1640s. She is also wearing a pearl necklace and a pearl bracelet, and pearls were considered more valuable than diamonds at that time. The format of the paintings showing the couple at full length was the most expensive form of marriage pendant and could only fit in a house with high ceilings. According to family inventories, they also owned another Rembrandt depicting the Holy Family. It is assumed that this is the Holy Family now in Munich, as that is also dated to 1634.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: How does Pendant portraits of Maerten Soolmans and Oopjen Coppit explain its Portrait of Oopjen Coppit?

Portrait of Oopjen Coppit (1611-1689) was documented by Hofstede de Groot in 1915, who wrote:638 MACHTELD VAN DOORN (1605-1646), from 1629 the wife of Martin Daey. Sm. 551.; Bode 304; Dut. 209; Wb. 317; B.-HdG. 108. Full length; life size. About thirty. She walks to the left along a footpath paved with stones, and looks at the spectator. She holds up in her right hand, by a gold chain, a rich fan of black ostrich feathers; with her left hand, as she descends a step, she lightly raises her handsome spotted gown of black silk with a high bodice, against which her broad and close-fitting lace collar and her lace-trimmed wristbands stand out in relief. At her waistband and on her shoe are rosettes of lace. Her fair curls are caught up at the back in a cap; a thick black veil falls from it down her back. At her throat and on her arms are several strings of pearls, and there is a pearl in each ear. A gold ring hangs by a fine chain from her lace collar. In the right background is a bluish-green curtain. [Pendant to 637.]Signed, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in Dutuit; and in the Nederlandsche Kunstbode, 1879. Mentioned by Vosmaer, pp. 254, 533; Bode, p. 402; Dutuit, p. 52; Michel, p. 148 [112-14, 436]; Moes, 2075. Exhibited at Amsterdam, 1867, No. 162. Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pictures for 12,000 florins to Van Winter).In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons, and was acquired as a whole in 1877 by the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris. In the collection of Baron Robert de Rothschild, Paris.Oopjen is wearing a flat lace collar with matching wrist collars in the latest fashion. Other Amsterdam brides of the regency class wore millstone collars well into the 1640s. She is also wearing a pearl necklace and a pearl bracelet, and pearls were considered more valuable than diamonds at that time. The format of the paintings showing the couple at full length was the most expensive form of marriage pendant and could only fit in a house with high ceilings. According to family inventories, they also owned another Rembrandt depicting the Holy Family. It is assumed that this is the Holy Family now in Munich, as that is also dated to 1634.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: In Pendant portraits of Maerten Soolmans and Oopjen Coppit, how is the Portrait of Oopjen Coppit discussed?

Portrait of Oopjen Coppit (1611-1689) was documented by Hofstede de Groot in 1915, who wrote:638 MACHTELD VAN DOORN (1605-1646), from 1629 the wife of Martin Daey. Sm. 551.; Bode 304; Dut. 209; Wb. 317; B.-HdG. 108. Full length; life size. About thirty. She walks to the left along a footpath paved with stones, and looks at the spectator. She holds up in her right hand, by a gold chain, a rich fan of black ostrich feathers; with her left hand, as she descends a step, she lightly raises her handsome spotted gown of black silk with a high bodice, against which her broad and close-fitting lace collar and her lace-trimmed wristbands stand out in relief. At her waistband and on her shoe are rosettes of lace. Her fair curls are caught up at the back in a cap; a thick black veil falls from it down her back. At her throat and on her arms are several strings of pearls, and there is a pearl in each ear. A gold ring hangs by a fine chain from her lace collar. In the right background is a bluish-green curtain. [Pendant to 637.]Signed, "Rembrandt f. 1634"; canvas, 82 inches by 52 inches. Etched by L. Flameng in the Gazette des Beaux-Arts, 1879; in Dutuit; and in the Nederlandsche Kunstbode, 1879. Mentioned by Vosmaer, pp. 254, 533; Bode, p. 402; Dutuit, p. 52; Michel, p. 148 [112-14, 436]; Moes, 2075. Exhibited at Amsterdam, 1867, No. 162. Sale. Hendrik Daey, Alkmaar, 1798 (4000 florins, with pendant, R. M. Pruyssenaar and Adriaen Daey, who sold the pictures for 12,000 florins to Van Winter).In the Van Winter collection, Amsterdam, which passed by inheritance to the Van Loons, and was acquired as a whole in 1877 by the Rothschilds. In the collection of Baron Gustave de Rothschild, Paris. In the collection of Baron Robert de Rothschild, Paris.Oopjen is wearing a flat lace collar with matching wrist collars in the latest fashion. Other Amsterdam brides of the regency class wore millstone collars well into the 1640s. She is also wearing a pearl necklace and a pearl bracelet, and pearls were considered more valuable than diamonds at that time. The format of the paintings showing the couple at full length was the most expensive form of marriage pendant and could only fit in a house with high ceilings. According to family inventories, they also owned another Rembrandt depicting the Holy Family. It is assumed that this is the Holy Family now in Munich, as that is also dated to 1634.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Focus on Pendant portraits of Maerten Soolmans and Oopjen Coppit and explain the Identity of the sitters.

The paintings were known as the "Portrait of Meneer Day" and "Portrait of Mevrouw Day" for over a century. He and his wife, who married 9 June 1633,were only properly identified in the 20th-century. The confusion of the names came about because after Maerten died, Oopjen remarried Captain Maerten Pietersz. Daij, and she outlived this second husband as well. After her death the paintings remained in the Daij or Daey family and members of that family assumed the portraits were of Daij and his first wife.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Explain the Identity of the sitters of this artwork, Pendant portraits of Maerten Soolmans and Oopjen Coppit.

The paintings were known as the "Portrait of Meneer Day" and "Portrait of Mevrouw Day" for over a century. He and his wife, who married 9 June 1633,were only properly identified in the 20th-century. The confusion of the names came about because after Maerten died, Oopjen remarried Captain Maerten Pietersz. Daij, and she outlived this second husband as well. After her death the paintings remained in the Daij or Daey family and members of that family assumed the portraits were of Daij and his first wife.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: How does Pendant portraits of Maerten Soolmans and Oopjen Coppit explain its Identity of the sitters?

The paintings were known as the "Portrait of Meneer Day" and "Portrait of Mevrouw Day" for over a century. He and his wife, who married 9 June 1633,were only properly identified in the 20th-century. The confusion of the names came about because after Maerten died, Oopjen remarried Captain Maerten Pietersz. Daij, and she outlived this second husband as well. After her death the paintings remained in the Daij or Daey family and members of that family assumed the portraits were of Daij and his first wife.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: In Pendant portraits of Maerten Soolmans and Oopjen Coppit, how is the Identity of the sitters discussed?

The paintings were known as the "Portrait of Meneer Day" and "Portrait of Mevrouw Day" for over a century. He and his wife, who married 9 June 1633,were only properly identified in the 20th-century. The confusion of the names came about because after Maerten died, Oopjen remarried Captain Maerten Pietersz. Daij, and she outlived this second husband as well. After her death the paintings remained in the Daij or Daey family and members of that family assumed the portraits were of Daij and his first wife.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Focus on Pendant portraits of Maerten Soolmans and Oopjen Coppit and explain the 2016 sale.

The joint purchase of these paintings was made by the Rijksmuseum and the Louvre on February 1, 2016. For the first time since 60 years, they were exhibited at the Louvre on March 10, 2016 until June 13, then for another 3 months at the Rijksmuseum, before their restoration. The intergovernmental agreement will keep these pendants together, alternately at the Louvre again, then at the Rijksmuseum for five years, followed by periods of eight years. They consequently may not be lent to other institutions.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Explain the 2016 sale of this artwork, Pendant portraits of Maerten Soolmans and Oopjen Coppit.

The joint purchase of these paintings was made by the Rijksmuseum and the Louvre on February 1, 2016. For the first time since 60 years, they were exhibited at the Louvre on March 10, 2016 until June 13, then for another 3 months at the Rijksmuseum, before their restoration. The intergovernmental agreement will keep these pendants together, alternately at the Louvre again, then at the Rijksmuseum for five years, followed by periods of eight years. They consequently may not be lent to other institutions.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: How does Pendant portraits of Maerten Soolmans and Oopjen Coppit explain its 2016 sale?

The joint purchase of these paintings was made by the Rijksmuseum and the Louvre on February 1, 2016. For the first time since 60 years, they were exhibited at the Louvre on March 10, 2016 until June 13, then for another 3 months at the Rijksmuseum, before their restoration. The intergovernmental agreement will keep these pendants together, alternately at the Louvre again, then at the Rijksmuseum for five years, followed by periods of eight years. They consequently may not be lent to other institutions.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: In Pendant portraits of Maerten Soolmans and Oopjen Coppit, how is the 2016 sale discussed?

The joint purchase of these paintings was made by the Rijksmuseum and the Louvre on February 1, 2016. For the first time since 60 years, they were exhibited at the Louvre on March 10, 2016 until June 13, then for another 3 months at the Rijksmuseum, before their restoration. The intergovernmental agreement will keep these pendants together, alternately at the Louvre again, then at the Rijksmuseum for five years, followed by periods of eight years. They consequently may not be lent to other institutions.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Focus on Pendant portraits of Maerten Soolmans and Oopjen Coppit and explain the Provenance.

The portraits were in the possession of the subjects' heirs until their sale in 1877 to Gustave Samuel de Rothschild, a French banker. They were lent for exhibition once only, to the Rijksmuseum in 1956 for the artist's 350th birthday. Before being sold, they were hung in a large hall in the Van Loon collection, described by Eugène Fromentin in 1877 with the remark that they were examples of Rembrandt at his best and were painted in the same period that Rembrandt painted his Anatomy Lesson of Dr. Nicolaes Tulp, traditionally marking the beginning of his career in Amsterdam. Clearly, the flamboyance of these young newlyweds did more to launch Rembrandt's career as a portrait painter for the Amsterdam upper class than his sober depiction of a class of serious students in Leiden. The entire Van Loon collection was sold to Rothschild for 40,000 pounds, which at the time was over a million francs.Wilhelm von Bode was impressed enough to include both in his set of 595 photogravures for his eight-volume 1898 treatise on Rembrandt. Fromentin and Bode had identified the paintings as  portraits of Mr. and Mrs. Daey, but it was the Amsterdam historian Isabella Henriette van Eeghen who painstakingly traced their ownership to their original inventories and established the identities of the portrayed.The current joined ownership is a new arrangement for the Louvre and Rijksmuseum, and it remains to be seen whether this experiment in international art purchasing will fit into exhibition plans of both institutions. Unlike many expensive paintings, these two will not be restricted by location and it is expected that they will be on tour regularly. According to Wim Pijbes, director of the Rijksmuseum, the paintings will not be separated, and each museum will own 50 percent of each painting.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: Explain the Provenance of this artwork, Pendant portraits of Maerten Soolmans and Oopjen Coppit.

The portraits were in the possession of the subjects' heirs until their sale in 1877 to Gustave Samuel de Rothschild, a French banker. They were lent for exhibition once only, to the Rijksmuseum in 1956 for the artist's 350th birthday. Before being sold, they were hung in a large hall in the Van Loon collection, described by Eugène Fromentin in 1877 with the remark that they were examples of Rembrandt at his best and were painted in the same period that Rembrandt painted his Anatomy Lesson of Dr. Nicolaes Tulp, traditionally marking the beginning of his career in Amsterdam. Clearly, the flamboyance of these young newlyweds did more to launch Rembrandt's career as a portrait painter for the Amsterdam upper class than his sober depiction of a class of serious students in Leiden. The entire Van Loon collection was sold to Rothschild for 40,000 pounds, which at the time was over a million francs.Wilhelm von Bode was impressed enough to include both in his set of 595 photogravures for his eight-volume 1898 treatise on Rembrandt. Fromentin and Bode had identified the paintings as  portraits of Mr. and Mrs. Daey, but it was the Amsterdam historian Isabella Henriette van Eeghen who painstakingly traced their ownership to their original inventories and established the identities of the portrayed.The current joined ownership is a new arrangement for the Louvre and Rijksmuseum, and it remains to be seen whether this experiment in international art purchasing will fit into exhibition plans of both institutions. Unlike many expensive paintings, these two will not be restricted by location and it is expected that they will be on tour regularly. According to Wim Pijbes, director of the Rijksmuseum, the paintings will not be separated, and each museum will own 50 percent of each painting.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre


Prompt: How does Pendant portraits of Maerten Soolmans and Oopjen Coppit explain its Provenance?

The portraits were in the possession of the subjects' heirs until their sale in 1877 to Gustave Samuel de Rothschild, a French banker. They were lent for exhibition once only, to the Rijksmuseum in 1956 for the artist's 350th birthday. Before being sold, they were hung in a large hall in the Van Loon collection, described by Eugène Fromentin in 1877 with the remark that they were examples of Rembrandt at his best and were painted in the same period that Rembrandt painted his Anatomy Lesson of Dr. Nicolaes Tulp, traditionally marking the beginning of his career in Amsterdam. Clearly, the flamboyance of these young newlyweds did more to launch Rembrandt's career as a portrait painter for the Amsterdam upper class than his sober depiction of a class of serious students in Leiden. The entire Van Loon collection was sold to Rothschild for 40,000 pounds, which at the time was over a million francs.Wilhelm von Bode was impressed enough to include both in his set of 595 photogravures for his eight-volume 1898 treatise on Rembrandt. Fromentin and Bode had identified the paintings as  portraits of Mr. and Mrs. Daey, but it was the Amsterdam historian Isabella Henriette van Eeghen who painstakingly traced their ownership to their original inventories and established the identities of the portrayed.The current joined ownership is a new arrangement for the Louvre and Rijksmuseum, and it remains to be seen whether this experiment in international art purchasing will fit into exhibition plans of both institutions. Unlike many expensive paintings, these two will not be restricted by location and it is expected that they will be on tour regularly. According to Wim Pijbes, director of the Rijksmuseum, the paintings will not be separated, and each museum will own 50 percent of each painting.

Category:Paintings in the Louvre by Dutch artists

Category:Portrait paintings in the Louvre