Bust of Abraham Lincoln (Borglum)

Prompt: In Bust of Abraham Lincoln (Borglum), how is the Marble original sculpture discussed?

Borglum made the original bust directly from Alabama marble without a prior plaster model, based on photographs and an 1860 life mask of Lincoln's face made by Leonard Volk.  The likeness was praised by Lincoln's son Robert Todd Lincoln in 1908: "I think it is the most extraordinarily good portrait of my father I have ever seen."It stands about 40 in (100 cm) high, weighs about 375 lb (170 kg), and is signed and dated "Gutzon Borglum/1908".  The distinctive face of Lincoln, without a beard, emerges from the rough rock, similar in style to sculptures by Michelangelo and Auguste Rodin, and also similar to Borglum's sculptures at Mount Rushmore, which includes a bearded Lincoln.  Borglum also made a statue of Seated Lincoln, installed in Newark, New Jersey in 1911.The sculpture was donated to Congress by the New York financier Eugene Meyer Jr., as recorded on the marble pedestal also designed by Borglum on which the bust was installed in 1911.  For many decades it was displayed in United States Capitol rotunda, which still has a standing statue of Lincoln made by Vinnie Ream in 1871.  The bust was moved to the crypt below in 1979.The bust is part of the United States Capitol art collection, but it is not one of the sculptures of the National Statuary Hall Collection.  Two other sculptures by Borglum are in the National Statuary Hall Collection: a statue of Alexander Hamilton Stephens and a statue of Zebulon Baird Vance.

Category:Bronze sculptures in Washington, D.C.

Statue of Abraham Lincoln (U.S. Capitol)

Category:Monuments and memorials in Illinois

Category:Monuments and memorials in New York City

Category:Buildings and structures in Berkeley, California

Category:Bronze sculptures in New York City

Category:Monuments and memorials in California

Category:Bronze sculptures in California

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of men in California

Category:Sculptures of men in New York City

Category:University of California, Berkeley

Category:Buildings and structures in Springfield, Illinois

Category:Marble sculptures in Washington, D.C.

Marble bust as originally displayed in the [[United States Capitol rotunda

Category:1908 establishments in Washington, D.C.

Category:Busts of presidents of the United States


Bust of Abraham Lincoln (Borglum)

Prompt: Focus on Bust of Abraham Lincoln (Borglum) and explain the Bronze casts.

Borglum had intended the marble bust to remain a unique work of art, but a mold was later made which was used to cast several copies in bronze.  One cast stands in front of the Lincoln Tomb in Springfield, Illinois.  Others are in the collections of the Chicago Historical Society, the College of the City of New York, the University of California, Berkeley, and the White House. The bust in the White House was donated by Eugene Meyer in 1954, and is usually displayed on a stone pillar in the East Garden Room, which links the East Wing to the Executive Residence.  The patina has been rubbed off the noses of the busts at the Lincoln Tomb and at Shepherd Hall, CUNY, where they are often touched for good luck.  An example of a 38 in (97 cm) bronze cast of Borglum's bust was sold in 2015 for $30,000.

Category:Bronze sculptures in Washington, D.C.

Statue of Abraham Lincoln (U.S. Capitol)

Category:Monuments and memorials in Illinois

Category:Monuments and memorials in New York City

Category:Buildings and structures in Berkeley, California

Category:Bronze sculptures in New York City

Category:Monuments and memorials in California

Category:Bronze sculptures in California

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of men in California

Category:Sculptures of men in New York City

Category:University of California, Berkeley

Category:Buildings and structures in Springfield, Illinois

Category:Marble sculptures in Washington, D.C.

Marble bust as originally displayed in the [[United States Capitol rotunda

sculptures of the National Statuary Hall Collection

Category:1908 establishments in Washington, D.C.

Category:Busts of presidents of the United States


Bust of Abraham Lincoln (Borglum)

Prompt: Explain the Bronze casts of this artwork, Bust of Abraham Lincoln (Borglum).

Borglum had intended the marble bust to remain a unique work of art, but a mold was later made which was used to cast several copies in bronze.  One cast stands in front of the Lincoln Tomb in Springfield, Illinois.  Others are in the collections of the Chicago Historical Society, the College of the City of New York, the University of California, Berkeley, and the White House. The bust in the White House was donated by Eugene Meyer in 1954, and is usually displayed on a stone pillar in the East Garden Room, which links the East Wing to the Executive Residence.  The patina has been rubbed off the noses of the busts at the Lincoln Tomb and at Shepherd Hall, CUNY, where they are often touched for good luck.  An example of a 38 in (97 cm) bronze cast of Borglum's bust was sold in 2015 for $30,000.

Category:Bronze sculptures in Washington, D.C.

Statue of Abraham Lincoln (U.S. Capitol)

Category:Monuments and memorials in Illinois

Category:Monuments and memorials in New York City

Category:Buildings and structures in Berkeley, California

Category:Bronze sculptures in New York City

Category:Monuments and memorials in California

Category:Bronze sculptures in California

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of men in California

Category:Sculptures of men in New York City

Category:University of California, Berkeley

Category:Buildings and structures in Springfield, Illinois

Category:Marble sculptures in Washington, D.C.

Marble bust as originally displayed in the [[United States Capitol rotunda

sculptures of the National Statuary Hall Collection

Category:1908 establishments in Washington, D.C.

Category:Busts of presidents of the United States


Bust of Abraham Lincoln (Borglum)

Prompt: How does Bust of Abraham Lincoln (Borglum) explain its Bronze casts?

Borglum had intended the marble bust to remain a unique work of art, but a mold was later made which was used to cast several copies in bronze.  One cast stands in front of the Lincoln Tomb in Springfield, Illinois.  Others are in the collections of the Chicago Historical Society, the College of the City of New York, the University of California, Berkeley, and the White House. The bust in the White House was donated by Eugene Meyer in 1954, and is usually displayed on a stone pillar in the East Garden Room, which links the East Wing to the Executive Residence.  The patina has been rubbed off the noses of the busts at the Lincoln Tomb and at Shepherd Hall, CUNY, where they are often touched for good luck.  An example of a 38 in (97 cm) bronze cast of Borglum's bust was sold in 2015 for $30,000.

Category:Bronze sculptures in Washington, D.C.

Statue of Abraham Lincoln (U.S. Capitol)

Category:Monuments and memorials in Illinois

Category:Monuments and memorials in New York City

Category:Buildings and structures in Berkeley, California

Category:Bronze sculptures in New York City

Category:Monuments and memorials in California

Category:Bronze sculptures in California

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of men in California

Category:Sculptures of men in New York City

Category:University of California, Berkeley

Category:Buildings and structures in Springfield, Illinois

Category:Marble sculptures in Washington, D.C.

Marble bust as originally displayed in the [[United States Capitol rotunda

sculptures of the National Statuary Hall Collection

Category:1908 establishments in Washington, D.C.

Category:Busts of presidents of the United States


Bust of Abraham Lincoln (Borglum)

Prompt: In Bust of Abraham Lincoln (Borglum), how is the Bronze casts discussed?

Borglum had intended the marble bust to remain a unique work of art, but a mold was later made which was used to cast several copies in bronze.  One cast stands in front of the Lincoln Tomb in Springfield, Illinois.  Others are in the collections of the Chicago Historical Society, the College of the City of New York, the University of California, Berkeley, and the White House. The bust in the White House was donated by Eugene Meyer in 1954, and is usually displayed on a stone pillar in the East Garden Room, which links the East Wing to the Executive Residence.  The patina has been rubbed off the noses of the busts at the Lincoln Tomb and at Shepherd Hall, CUNY, where they are often touched for good luck.  An example of a 38 in (97 cm) bronze cast of Borglum's bust was sold in 2015 for $30,000.

Category:Bronze sculptures in Washington, D.C.

Statue of Abraham Lincoln (U.S. Capitol)

Category:Monuments and memorials in Illinois

Category:Monuments and memorials in New York City

Category:Buildings and structures in Berkeley, California

Category:Bronze sculptures in New York City

Category:Monuments and memorials in California

Category:Bronze sculptures in California

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of men in California

Category:Sculptures of men in New York City

Category:University of California, Berkeley

Category:Buildings and structures in Springfield, Illinois

Category:Marble sculptures in Washington, D.C.

Marble bust as originally displayed in the [[United States Capitol rotunda

sculptures of the National Statuary Hall Collection

Category:1908 establishments in Washington, D.C.

Category:Busts of presidents of the United States


Annunciation (Fra Angelico, Madrid)

Prompt: Focus on Annunciation (Fra Angelico, Madrid) and explain the abstract.

The Prado Annunciation is an  altarpiece painted by the Italian Renaissance painter Giovanni da Fiesole, known as Fra Angelico, in the 1420s. It is one of his best-known works. Originally destined for the convent of the observant Dominicans of Fiesole, the painting is currently in the collection of the Museo del Prado in Madrid. It is one of three altarpieces by Fra Angelico representing the Annunciation; the other two being the Cortona Annunciation and the Annunciation of San Giovanni Valdarno. The sequence in which the three works were painted is not certain, but the general art historical consensus places the Prado version first.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: Explain the abstract of this artwork, Annunciation (Fra Angelico, Madrid).

The Prado Annunciation is an  altarpiece painted by the Italian Renaissance painter Giovanni da Fiesole, known as Fra Angelico, in the 1420s. It is one of his best-known works. Originally destined for the convent of the observant Dominicans of Fiesole, the painting is currently in the collection of the Museo del Prado in Madrid. It is one of three altarpieces by Fra Angelico representing the Annunciation; the other two being the Cortona Annunciation and the Annunciation of San Giovanni Valdarno. The sequence in which the three works were painted is not certain, but the general art historical consensus places the Prado version first.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: How does Annunciation (Fra Angelico, Madrid) explain its abstract?

The Prado Annunciation is an  altarpiece painted by the Italian Renaissance painter Giovanni da Fiesole, known as Fra Angelico, in the 1420s. It is one of his best-known works. Originally destined for the convent of the observant Dominicans of Fiesole, the painting is currently in the collection of the Museo del Prado in Madrid. It is one of three altarpieces by Fra Angelico representing the Annunciation; the other two being the Cortona Annunciation and the Annunciation of San Giovanni Valdarno. The sequence in which the three works were painted is not certain, but the general art historical consensus places the Prado version first.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: In Annunciation (Fra Angelico, Madrid), how is the abstract discussed?

The Prado Annunciation is an  altarpiece painted by the Italian Renaissance painter Giovanni da Fiesole, known as Fra Angelico, in the 1420s. It is one of his best-known works. Originally destined for the convent of the observant Dominicans of Fiesole, the painting is currently in the collection of the Museo del Prado in Madrid. It is one of three altarpieces by Fra Angelico representing the Annunciation; the other two being the Cortona Annunciation and the Annunciation of San Giovanni Valdarno. The sequence in which the three works were painted is not certain, but the general art historical consensus places the Prado version first.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: Focus on Annunciation (Fra Angelico, Madrid) and explain the History.

The work was painted for a side altar in the Convent of San Domenico, Fiesole, where Fra Angelico was a friar. For the same church he also contributed the main altarpiece, showing the Virgin and Child Enthroned with Dominican saints (c. 1425) and the Coronation of the Virgin, now in the Louvre (c. 1424–1435) .The Annunciation remained at San Domenico until 1611 when it was sold to the King of Spain and taken to Madrid, where it became part of the royal collections of the Spanish monarchy before moving to Prado.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: Explain the History of this artwork, Annunciation (Fra Angelico, Madrid).

The work was painted for a side altar in the Convent of San Domenico, Fiesole, where Fra Angelico was a friar. For the same church he also contributed the main altarpiece, showing the Virgin and Child Enthroned with Dominican saints (c. 1425) and the Coronation of the Virgin, now in the Louvre (c. 1424–1435) .The Annunciation remained at San Domenico until 1611 when it was sold to the King of Spain and taken to Madrid, where it became part of the royal collections of the Spanish monarchy before moving to Prado.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: How does Annunciation (Fra Angelico, Madrid) explain its History?

The work was painted for a side altar in the Convent of San Domenico, Fiesole, where Fra Angelico was a friar. For the same church he also contributed the main altarpiece, showing the Virgin and Child Enthroned with Dominican saints (c. 1425) and the Coronation of the Virgin, now in the Louvre (c. 1424–1435) .The Annunciation remained at San Domenico until 1611 when it was sold to the King of Spain and taken to Madrid, where it became part of the royal collections of the Spanish monarchy before moving to Prado.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: In Annunciation (Fra Angelico, Madrid), how is the History discussed?

The work was painted for a side altar in the Convent of San Domenico, Fiesole, where Fra Angelico was a friar. For the same church he also contributed the main altarpiece, showing the Virgin and Child Enthroned with Dominican saints (c. 1425) and the Coronation of the Virgin, now in the Louvre (c. 1424–1435) .The Annunciation remained at San Domenico until 1611 when it was sold to the King of Spain and taken to Madrid, where it became part of the royal collections of the Spanish monarchy before moving to Prado.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: Focus on Annunciation (Fra Angelico, Madrid) and explain the Description.

The scenes have a structure similar to the other two Annunciations but with some differences. As in the Annunciation of Cortona, the pictured surface is divided in three parts (the garden, the Angel's arch and the Virgin's arch), but the vanishing point is inside the home, as in the Annunciation of San Giovanni, focusing the viewer's attention on the Annunciation. This scheme draws attention away from the figures of Adam and Eve expelled from Eden, which in the Cortonese Annunciation are smaller but are near the vanishing point.As in the other two works, they are moving in a flowered garden representing the virginity of Mary ("hortus conclusus"), inhabited by a multitude of plants and seedlings painted with great accuracy. Between the species with symbolic values, we can recognise the palm, representing the future martyrdom of Christ, and the red roses referring the blood of the Passion. The presence of Adam and Eve evidences the cycle of the human damnation, recomposed with the deliverance in Christ made possible by the acceptance of Mary.From the high-left a ray of divine light illuminates, through the dove of Holy Spirit, the Virgin, who bends accepting her duty submissively. She's sitting on a seat covered with a rich drape acting as carpet, and she has on her knees an open book, symbol of the happening Scriptures.The Angel has a similar pose and vest to the work of San Giovanni, although his figure appears more static and the folds of the vest are more schematic, and may be the work of a collaborator.The scene is set under a Renaissance portico with the light arches stretched with wisdom on perspective, which remember the architecture of Michelozzo. Light appears unified, unlike the pail of Cortona, and moves from left to right for all the element.The overall effect is of a precious description of the various details, with cold and bright colours, almost crystallized, in the changing colour harmonies of blue and pink.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: Explain the Description of this artwork, Annunciation (Fra Angelico, Madrid).

The scenes have a structure similar to the other two Annunciations but with some differences. As in the Annunciation of Cortona, the pictured surface is divided in three parts (the garden, the Angel's arch and the Virgin's arch), but the vanishing point is inside the home, as in the Annunciation of San Giovanni, focusing the viewer's attention on the Annunciation. This scheme draws attention away from the figures of Adam and Eve expelled from Eden, which in the Cortonese Annunciation are smaller but are near the vanishing point.As in the other two works, they are moving in a flowered garden representing the virginity of Mary ("hortus conclusus"), inhabited by a multitude of plants and seedlings painted with great accuracy. Between the species with symbolic values, we can recognise the palm, representing the future martyrdom of Christ, and the red roses referring the blood of the Passion. The presence of Adam and Eve evidences the cycle of the human damnation, recomposed with the deliverance in Christ made possible by the acceptance of Mary.From the high-left a ray of divine light illuminates, through the dove of Holy Spirit, the Virgin, who bends accepting her duty submissively. She's sitting on a seat covered with a rich drape acting as carpet, and she has on her knees an open book, symbol of the happening Scriptures.The Angel has a similar pose and vest to the work of San Giovanni, although his figure appears more static and the folds of the vest are more schematic, and may be the work of a collaborator.The scene is set under a Renaissance portico with the light arches stretched with wisdom on perspective, which remember the architecture of Michelozzo. Light appears unified, unlike the pail of Cortona, and moves from left to right for all the element.The overall effect is of a precious description of the various details, with cold and bright colours, almost crystallized, in the changing colour harmonies of blue and pink.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: How does Annunciation (Fra Angelico, Madrid) explain its Description?

The scenes have a structure similar to the other two Annunciations but with some differences. As in the Annunciation of Cortona, the pictured surface is divided in three parts (the garden, the Angel's arch and the Virgin's arch), but the vanishing point is inside the home, as in the Annunciation of San Giovanni, focusing the viewer's attention on the Annunciation. This scheme draws attention away from the figures of Adam and Eve expelled from Eden, which in the Cortonese Annunciation are smaller but are near the vanishing point.As in the other two works, they are moving in a flowered garden representing the virginity of Mary ("hortus conclusus"), inhabited by a multitude of plants and seedlings painted with great accuracy. Between the species with symbolic values, we can recognise the palm, representing the future martyrdom of Christ, and the red roses referring the blood of the Passion. The presence of Adam and Eve evidences the cycle of the human damnation, recomposed with the deliverance in Christ made possible by the acceptance of Mary.From the high-left a ray of divine light illuminates, through the dove of Holy Spirit, the Virgin, who bends accepting her duty submissively. She's sitting on a seat covered with a rich drape acting as carpet, and she has on her knees an open book, symbol of the happening Scriptures.The Angel has a similar pose and vest to the work of San Giovanni, although his figure appears more static and the folds of the vest are more schematic, and may be the work of a collaborator.The scene is set under a Renaissance portico with the light arches stretched with wisdom on perspective, which remember the architecture of Michelozzo. Light appears unified, unlike the pail of Cortona, and moves from left to right for all the element.The overall effect is of a precious description of the various details, with cold and bright colours, almost crystallized, in the changing colour harmonies of blue and pink.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: In Annunciation (Fra Angelico, Madrid), how is the Description discussed?

The scenes have a structure similar to the other two Annunciations but with some differences. As in the Annunciation of Cortona, the pictured surface is divided in three parts (the garden, the Angel's arch and the Virgin's arch), but the vanishing point is inside the home, as in the Annunciation of San Giovanni, focusing the viewer's attention on the Annunciation. This scheme draws attention away from the figures of Adam and Eve expelled from Eden, which in the Cortonese Annunciation are smaller but are near the vanishing point.As in the other two works, they are moving in a flowered garden representing the virginity of Mary ("hortus conclusus"), inhabited by a multitude of plants and seedlings painted with great accuracy. Between the species with symbolic values, we can recognise the palm, representing the future martyrdom of Christ, and the red roses referring the blood of the Passion. The presence of Adam and Eve evidences the cycle of the human damnation, recomposed with the deliverance in Christ made possible by the acceptance of Mary.From the high-left a ray of divine light illuminates, through the dove of Holy Spirit, the Virgin, who bends accepting her duty submissively. She's sitting on a seat covered with a rich drape acting as carpet, and she has on her knees an open book, symbol of the happening Scriptures.The Angel has a similar pose and vest to the work of San Giovanni, although his figure appears more static and the folds of the vest are more schematic, and may be the work of a collaborator.The scene is set under a Renaissance portico with the light arches stretched with wisdom on perspective, which remember the architecture of Michelozzo. Light appears unified, unlike the pail of Cortona, and moves from left to right for all the element.The overall effect is of a precious description of the various details, with cold and bright colours, almost crystallized, in the changing colour harmonies of blue and pink.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: Focus on Annunciation (Fra Angelico, Madrid) and explain the Predella.

In the predella there are five scenes from Mary's life ( Birth and Marriage, the Visitation, the Adoration of the Magi,  Presentation at the temple and the dormition) where the master had worked freely on the composition, less subjected to the iconographic tradition of the main scene.The Sposalizio presents the background of a Renaissance church with portico, while the visitation shows a sidelong lodge, represented with ability. This scene does not reach the vivid expression of fatigue on the woman who is going to the chime as in the predella of the Annunciation of Cortona. The Adoration of the Magi instead is completely original and shows an innovative frontal iconography years before the revolution of Botticelli (Adoration of the Magi in the Uffizi, 1475), enhanced by the complex perspective of the hut's ruins. Here can be noticed the distinct use of lights by Beato Angelico, who creates a pure and crystal illumination which models volumes, enhances the chromatic harmony and unifies the scenes.The following scene of the Presentation is more innovative, with the ambient placed inside a circular temple which seems projected through lens to the viewer, improving the scheme already used on the Presentation at the Temple by Gentile da Fabriano. The Dormition is the most traditional scene though the invention of the avvallamento between the background mountains can be considered innovative, because it creates a perspective channel to the holy way suspended by the Angels on the top.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: Explain the Predella of this artwork, Annunciation (Fra Angelico, Madrid).

In the predella there are five scenes from Mary's life ( Birth and Marriage, the Visitation, the Adoration of the Magi,  Presentation at the temple and the dormition) where the master had worked freely on the composition, less subjected to the iconographic tradition of the main scene.The Sposalizio presents the background of a Renaissance church with portico, while the visitation shows a sidelong lodge, represented with ability. This scene does not reach the vivid expression of fatigue on the woman who is going to the chime as in the predella of the Annunciation of Cortona. The Adoration of the Magi instead is completely original and shows an innovative frontal iconography years before the revolution of Botticelli (Adoration of the Magi in the Uffizi, 1475), enhanced by the complex perspective of the hut's ruins. Here can be noticed the distinct use of lights by Beato Angelico, who creates a pure and crystal illumination which models volumes, enhances the chromatic harmony and unifies the scenes.The following scene of the Presentation is more innovative, with the ambient placed inside a circular temple which seems projected through lens to the viewer, improving the scheme already used on the Presentation at the Temple by Gentile da Fabriano. The Dormition is the most traditional scene though the invention of the avvallamento between the background mountains can be considered innovative, because it creates a perspective channel to the holy way suspended by the Angels on the top.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: How does Annunciation (Fra Angelico, Madrid) explain its Predella?

In the predella there are five scenes from Mary's life ( Birth and Marriage, the Visitation, the Adoration of the Magi,  Presentation at the temple and the dormition) where the master had worked freely on the composition, less subjected to the iconographic tradition of the main scene.The Sposalizio presents the background of a Renaissance church with portico, while the visitation shows a sidelong lodge, represented with ability. This scene does not reach the vivid expression of fatigue on the woman who is going to the chime as in the predella of the Annunciation of Cortona. The Adoration of the Magi instead is completely original and shows an innovative frontal iconography years before the revolution of Botticelli (Adoration of the Magi in the Uffizi, 1475), enhanced by the complex perspective of the hut's ruins. Here can be noticed the distinct use of lights by Beato Angelico, who creates a pure and crystal illumination which models volumes, enhances the chromatic harmony and unifies the scenes.The following scene of the Presentation is more innovative, with the ambient placed inside a circular temple which seems projected through lens to the viewer, improving the scheme already used on the Presentation at the Temple by Gentile da Fabriano. The Dormition is the most traditional scene though the invention of the avvallamento between the background mountains can be considered innovative, because it creates a perspective channel to the holy way suspended by the Angels on the top.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Annunciation (Fra Angelico, Madrid)

Prompt: In Annunciation (Fra Angelico, Madrid), how is the Predella discussed?

In the predella there are five scenes from Mary's life ( Birth and Marriage, the Visitation, the Adoration of the Magi,  Presentation at the temple and the dormition) where the master had worked freely on the composition, less subjected to the iconographic tradition of the main scene.The Sposalizio presents the background of a Renaissance church with portico, while the visitation shows a sidelong lodge, represented with ability. This scene does not reach the vivid expression of fatigue on the woman who is going to the chime as in the predella of the Annunciation of Cortona. The Adoration of the Magi instead is completely original and shows an innovative frontal iconography years before the revolution of Botticelli (Adoration of the Magi in the Uffizi, 1475), enhanced by the complex perspective of the hut's ruins. Here can be noticed the distinct use of lights by Beato Angelico, who creates a pure and crystal illumination which models volumes, enhances the chromatic harmony and unifies the scenes.The following scene of the Presentation is more innovative, with the ambient placed inside a circular temple which seems projected through lens to the viewer, improving the scheme already used on the Presentation at the Temple by Gentile da Fabriano. The Dormition is the most traditional scene though the invention of the avvallamento between the background mountains can be considered innovative, because it creates a perspective channel to the holy way suspended by the Angels on the top.

Coronation of the Virgin (Fra Angelico, Louvre)

Detail: ''Adam and Eve hunted out of Paradise'' "walking on the roses of the garden of Mary"

Presentation at the Temple (Gentile da Fabriano)

Adoration of the Magi (Botticelli, 1475)

Category:Paintings in the Museo del Prado by Italian artists


Venus and Cupid with a Satyr

Prompt: Focus on Venus and Cupid with a Satyr and explain the abstract.

Venus and Cupid with a Satyr (around 1524-1527) is a painting by the Italian High Renaissance artist Antonio da Correggio. It is now in the Musée du Louvre in Paris.

Venus with Mercury and Cupid (The School of Love)

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: Explain the abstract of this artwork, Venus and Cupid with a Satyr.

Venus and Cupid with a Satyr (around 1524-1527) is a painting by the Italian High Renaissance artist Antonio da Correggio. It is now in the Musée du Louvre in Paris.

Venus with Mercury and Cupid (The School of Love)

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: How does Venus and Cupid with a Satyr explain its abstract?

Venus and Cupid with a Satyr (around 1524-1527) is a painting by the Italian High Renaissance artist Antonio da Correggio. It is now in the Musée du Louvre in Paris.

Venus with Mercury and Cupid (The School of Love)

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: In Venus and Cupid with a Satyr, how is the abstract discussed?

Venus and Cupid with a Satyr (around 1524-1527) is a painting by the Italian High Renaissance artist Antonio da Correggio. It is now in the Musée du Louvre in Paris.

Venus with Mercury and Cupid (The School of Love)

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: Focus on Venus and Cupid with a Satyr and explain the Background.

This painting  was in the 16th century in the private collection of count Nicholas Maffei. It is very likely that one of the members of the Maffei family has commissioned two paintings that they then arrived in the 17th century in the collection of the Gonzaga family, with whom the Maffei were relatives. In fact, the son of count Nicholas Maffei, count Frederick Maffei, married Isabel, daughter of Cardinal Ercole Gonzaga.

Venus with Mercury and Cupid (The School of Love)

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: Explain the Background of this artwork, Venus and Cupid with a Satyr.

This painting  was in the 16th century in the private collection of count Nicholas Maffei. It is very likely that one of the members of the Maffei family has commissioned two paintings that they then arrived in the 17th century in the collection of the Gonzaga family, with whom the Maffei were relatives. In fact, the son of count Nicholas Maffei, count Frederick Maffei, married Isabel, daughter of Cardinal Ercole Gonzaga.

Venus with Mercury and Cupid (The School of Love)

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: How does Venus and Cupid with a Satyr explain its Background?

This painting  was in the 16th century in the private collection of count Nicholas Maffei. It is very likely that one of the members of the Maffei family has commissioned two paintings that they then arrived in the 17th century in the collection of the Gonzaga family, with whom the Maffei were relatives. In fact, the son of count Nicholas Maffei, count Frederick Maffei, married Isabel, daughter of Cardinal Ercole Gonzaga.

Venus with Mercury and Cupid (The School of Love)

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: In Venus and Cupid with a Satyr, how is the Background discussed?

This painting  was in the 16th century in the private collection of count Nicholas Maffei. It is very likely that one of the members of the Maffei family has commissioned two paintings that they then arrived in the 17th century in the collection of the Gonzaga family, with whom the Maffei were relatives. In fact, the son of count Nicholas Maffei, count Frederick Maffei, married Isabel, daughter of Cardinal Ercole Gonzaga.

Venus with Mercury and Cupid (The School of Love)

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: Focus on Venus and Cupid with a Satyr and explain the Description.

The work depicts Venus sleeping with her son Eros. Behind them, a satyr is caught while discovering the goddess. The picture is often also seen as portraying Jupiter and Antiope as, according to mythology and Ovid, Jupiter had turned himself into a satyr to rape the nymph.The painting was probably connected to Correggio's Venus with Mercury and Cupid (The School of Love), now in the National Gallery of London. It, or a copy of it, can be seen in the 1628 painting of the gallery of Cornelis van der Geest, by Willem van Haecht.

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: Explain the Description of this artwork, Venus and Cupid with a Satyr.

The work depicts Venus sleeping with her son Eros. Behind them, a satyr is caught while discovering the goddess. The picture is often also seen as portraying Jupiter and Antiope as, according to mythology and Ovid, Jupiter had turned himself into a satyr to rape the nymph.The painting was probably connected to Correggio's Venus with Mercury and Cupid (The School of Love), now in the National Gallery of London. It, or a copy of it, can be seen in the 1628 painting of the gallery of Cornelis van der Geest, by Willem van Haecht.

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: How does Venus and Cupid with a Satyr explain its Description?

The work depicts Venus sleeping with her son Eros. Behind them, a satyr is caught while discovering the goddess. The picture is often also seen as portraying Jupiter and Antiope as, according to mythology and Ovid, Jupiter had turned himself into a satyr to rape the nymph.The painting was probably connected to Correggio's Venus with Mercury and Cupid (The School of Love), now in the National Gallery of London. It, or a copy of it, can be seen in the 1628 painting of the gallery of Cornelis van der Geest, by Willem van Haecht.

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Venus and Cupid with a Satyr

Prompt: In Venus and Cupid with a Satyr, how is the Description discussed?

The work depicts Venus sleeping with her son Eros. Behind them, a satyr is caught while discovering the goddess. The picture is often also seen as portraying Jupiter and Antiope as, according to mythology and Ovid, Jupiter had turned himself into a satyr to rape the nymph.The painting was probably connected to Correggio's Venus with Mercury and Cupid (The School of Love), now in the National Gallery of London. It, or a copy of it, can be seen in the 1628 painting of the gallery of Cornelis van der Geest, by Willem van Haecht.

Category:Paintings in the Louvre by Italian artists

Category:Mythological paintings by Correggio


Rucellai Madonna

Prompt: Focus on Rucellai Madonna and explain the abstract.

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the Laudesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella (in 1591, the painting was moved to the adjacent, much larger Rucellai family chapel, hence the modern title of convenience).  It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

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

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the Laudesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella (in 1591, the painting was moved to the adjacent, much larger Rucellai family chapel, hence the modern title of convenience).  It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: How does Rucellai Madonna explain its abstract?

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the Laudesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella (in 1591, the painting was moved to the adjacent, much larger Rucellai family chapel, hence the modern title of convenience).  It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

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

The Rucellai Madonna is a panel painting representing the Virgin and Child enthroned with Angels by the Sienese painter Duccio di Buoninsegna. The original contract for the work is dated 1285; the painting was probably delivered in 1286. The painting was commissioned by the Laudesi confraternity of Florence to decorate the chapel they maintained in the Dominican church of Santa Maria Novella (in 1591, the painting was moved to the adjacent, much larger Rucellai family chapel, hence the modern title of convenience).  It was transferred to the Galleria degli Uffizi in the 19th century. The Rucellai Madonna is the largest 13th-century panel painting extant.

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: Focus on Rucellai Madonna and explain the History.

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the Laudesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession (1853-5). In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: Explain the History of this artwork, Rucellai Madonna.

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the Laudesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession (1853-5). In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: How does Rucellai Madonna explain its History?

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the Laudesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession (1853-5). In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: In Rucellai Madonna, how is the History discussed?

The Rucellai Madonna is the earlier of the two works by Duccio for which there is written documentation (the other is the Maestà of 1308–11). The altarpiece was commissioned by the Compagnia dei Laudesi, a lay confraternity devoted to the Virgin, to decorate the chapel they occupied in the transept of the newly built Dominican church of Santa Maria Novella in Florence. The contract for the painting, dated 15 April 1285, is the oldest Italian document of its kind to survive. The contract states that Duccio was commissioned to paint a panel depicting the Virgin and Child and "other figures,” for which he was to be paid 150 lire. It enjoins the artist to work on no other commissions while completing the altarpiece, and specifies that the entire work must be painted by Duccio alone without workshop assistance. The contract also requires the artist to pay for and use ultramarine blue for the Virgin's robe and real gold leaf for the background. The framed panel itself—the largest of the dugento—was supplied by the Laudesi. The patron had the right of refusal.In the 16th century, the art historian Giorgio Vasari mistakenly attributed the Rucellai Madonna to Duccio's contemporary, Cimabue, in his Lives of the Most Eminent Painters, Sculptors, and Architects. This mistake went unchallenged for centuries; in the 19th century Frederic Leighton depicted the Rucellai Madonna paraded through the streets in his first major painting, which bore the title Cimabue's Celebrated Madonna Carried in Procession (1853-5). In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Rucellai Madonna.

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: Focus on Rucellai Madonna and explain the Description.

The work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work.The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the Laudesi met in the chapel to sing lauds, or Latin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art (which is also suggested by the aspects of the later Maestà).

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: Explain the Description of this artwork, Rucellai Madonna.

The work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work.The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the Laudesi met in the chapel to sing lauds, or Latin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art (which is also suggested by the aspects of the later Maestà).

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: How does Rucellai Madonna explain its Description?

The work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work.The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the Laudesi met in the chapel to sing lauds, or Latin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art (which is also suggested by the aspects of the later Maestà).

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: In Rucellai Madonna, how is the Description discussed?

The work, measuring 4.5 by 2.9 meters, was painted in egg tempera on a five-pieced poplar panel. The panel and frame would have been constructed by a master carpenter and then handed over to Duccio for painting. The frame is of the same wood. Although the contract required Duccio to use costly, ultramarine blue, made from ground lapis lazuli, conservators restoring the panel in 1989 determined the pigment of the Virgin's robe to be the cheaper substitute, azurite. Over the centuries, the blue pigments darkened considerably and the green bole underpainting of the fleshtones became more visible. A more recent restoration has rectified those issues, thereby greatly enhancing the tonal unity and subtle naturalism of the work.The iconography of the painting was determined by the needs of the patrons and the Dominican order. The members of the Laudesi met in the chapel to sing lauds, or Latin hymns praising the Virgin; an image of Mary provided a focus for those devotions. The roundels on the frame represent apostles, saints, and prominent members of the Dominican order, including Saints Dominic and Thomas Aquinas.Given the bitter political enmity of Florence and Siena, the Florentine civic group's choice of a Sienese artist is noteworthy. Siena regarded the Virgin not only as its patron saint, but as Queen of the city. As a result of this association, Sienese artists like Guido da Siena and Duccio came to specialize in Marian imagery. Although compositional and iconographic sources of the Rucellai Madonna are Byzantine icons, Duccio's work was modeled on recent Sienese works, and not derived directly from a Greek model. The emphasis on grace and refinement seen in the Virgin's gown and stylized anatomy may reflect a familiarity with French Gothic art (which is also suggested by the aspects of the later Maestà).

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: Focus on Rucellai Madonna and explain the Legacy.

The Rucellai Madonna is currently displayed in the first gallery of the Galleria degli Uffizi, along with Cimabue's Santa Trinità Maestà (c. 1285) and Giotto's Ognissanti Madonna (1306). This choice follows Vasari's example by locating the originary moment (“i primi lumi”) of Italian Renaissance painting in the works of those artists. This tendentious and teleological conception of late medieval works as early instantiations of the naturalistic, volumetric, and spatial concerns of the quattrocento is, however, misleading at best, as it divorces those images from their proper historical contexts and selectively emphasizes stylistic qualities that resemble later artistic currents of which 13th-century painters would obviously been unaware. Hence, Rucellai Madonna is often described as a naturalistic advance over primitive Italo-Byzantine stylization, a willful misreading of a gold-ground, highly stylized and ethereal image that has much more in common with Paleologan icons than with Masaccio.

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: Explain the Legacy of this artwork, Rucellai Madonna.

The Rucellai Madonna is currently displayed in the first gallery of the Galleria degli Uffizi, along with Cimabue's Santa Trinità Maestà (c. 1285) and Giotto's Ognissanti Madonna (1306). This choice follows Vasari's example by locating the originary moment (“i primi lumi”) of Italian Renaissance painting in the works of those artists. This tendentious and teleological conception of late medieval works as early instantiations of the naturalistic, volumetric, and spatial concerns of the quattrocento is, however, misleading at best, as it divorces those images from their proper historical contexts and selectively emphasizes stylistic qualities that resemble later artistic currents of which 13th-century painters would obviously been unaware. Hence, Rucellai Madonna is often described as a naturalistic advance over primitive Italo-Byzantine stylization, a willful misreading of a gold-ground, highly stylized and ethereal image that has much more in common with Paleologan icons than with Masaccio.

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: How does Rucellai Madonna explain its Legacy?

The Rucellai Madonna is currently displayed in the first gallery of the Galleria degli Uffizi, along with Cimabue's Santa Trinità Maestà (c. 1285) and Giotto's Ognissanti Madonna (1306). This choice follows Vasari's example by locating the originary moment (“i primi lumi”) of Italian Renaissance painting in the works of those artists. This tendentious and teleological conception of late medieval works as early instantiations of the naturalistic, volumetric, and spatial concerns of the quattrocento is, however, misleading at best, as it divorces those images from their proper historical contexts and selectively emphasizes stylistic qualities that resemble later artistic currents of which 13th-century painters would obviously been unaware. Hence, Rucellai Madonna is often described as a naturalistic advance over primitive Italo-Byzantine stylization, a willful misreading of a gold-ground, highly stylized and ethereal image that has much more in common with Paleologan icons than with Masaccio.

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Rucellai Madonna

Prompt: In Rucellai Madonna, how is the Legacy discussed?

The Rucellai Madonna is currently displayed in the first gallery of the Galleria degli Uffizi, along with Cimabue's Santa Trinità Maestà (c. 1285) and Giotto's Ognissanti Madonna (1306). This choice follows Vasari's example by locating the originary moment (“i primi lumi”) of Italian Renaissance painting in the works of those artists. This tendentious and teleological conception of late medieval works as early instantiations of the naturalistic, volumetric, and spatial concerns of the quattrocento is, however, misleading at best, as it divorces those images from their proper historical contexts and selectively emphasizes stylistic qualities that resemble later artistic currents of which 13th-century painters would obviously been unaware. Hence, Rucellai Madonna is often described as a naturalistic advance over primitive Italo-Byzantine stylization, a willful misreading of a gold-ground, highly stylized and ethereal image that has much more in common with Paleologan icons than with Masaccio.

Cimabue's Celebrated Madonna Carried in Procession

The Dominican church of [[Santa Maria Novella

Category:Paintings of the Madonna and Child

Lives of the Most Eminent Painters, Sculptors, and Architects

Lives of the Most Excellent Painters, Sculptors, and Architects

File:Leighton of Stretton, Frederick Leighton, Baron - Cimabue's Madonna Carried in Procession - Google Art Project.jpg


Salem (painting)

Prompt: Focus on Salem (painting) and explain the abstract.

Salem is a painting of 1908 by the English painter Sydney Curnow Vosper, depicting a scene within Capel Salem, a Baptist chapel in Pentre Gwynfryn, Gwynedd, Wales. It is noteworthy as a depiction of Welsh piety, the traditional Welsh national costume, and for a contentious belief that the devil is depicted within it. Mass reproductions throughout the early and mid 20th century ensured that the image became famous throughout Britain.The painting has been described as an icon of Wales, much as John Constable's Hay Wain is iconic of England.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Explain the abstract of this artwork, Salem (painting).

Salem is a painting of 1908 by the English painter Sydney Curnow Vosper, depicting a scene within Capel Salem, a Baptist chapel in Pentre Gwynfryn, Gwynedd, Wales. It is noteworthy as a depiction of Welsh piety, the traditional Welsh national costume, and for a contentious belief that the devil is depicted within it. Mass reproductions throughout the early and mid 20th century ensured that the image became famous throughout Britain.The painting has been described as an icon of Wales, much as John Constable's Hay Wain is iconic of England.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: How does Salem (painting) explain its abstract?

Salem is a painting of 1908 by the English painter Sydney Curnow Vosper, depicting a scene within Capel Salem, a Baptist chapel in Pentre Gwynfryn, Gwynedd, Wales. It is noteworthy as a depiction of Welsh piety, the traditional Welsh national costume, and for a contentious belief that the devil is depicted within it. Mass reproductions throughout the early and mid 20th century ensured that the image became famous throughout Britain.The painting has been described as an icon of Wales, much as John Constable's Hay Wain is iconic of England.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: In Salem (painting), how is the abstract discussed?

Salem is a painting of 1908 by the English painter Sydney Curnow Vosper, depicting a scene within Capel Salem, a Baptist chapel in Pentre Gwynfryn, Gwynedd, Wales. It is noteworthy as a depiction of Welsh piety, the traditional Welsh national costume, and for a contentious belief that the devil is depicted within it. Mass reproductions throughout the early and mid 20th century ensured that the image became famous throughout Britain.The painting has been described as an icon of Wales, much as John Constable's Hay Wain is iconic of England.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Focus on Salem (painting) and explain the History.

Vosper had found success as a watercolour painter before coming to Wales; he had exhibited work in galleries throughout England, at the Paris Salon and the Royal Academy in London. He was noted for his paintings of people, particularly the residents of Le Faouët in Brittany. Vosper's Welsh period began with his marriage to Constance James of Merthyr Tydfil in 1902, and ended after her death in 1910.Vosper first saw Capel Salem in 1906, not long after the "Welsh Revival". He had already painted many famous images of prayer and piety in Brittany, and it would seem the chapel and its congregation inspired him in much the same way.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Explain the History of this artwork, Salem (painting).

Vosper had found success as a watercolour painter before coming to Wales; he had exhibited work in galleries throughout England, at the Paris Salon and the Royal Academy in London. He was noted for his paintings of people, particularly the residents of Le Faouët in Brittany. Vosper's Welsh period began with his marriage to Constance James of Merthyr Tydfil in 1902, and ended after her death in 1910.Vosper first saw Capel Salem in 1906, not long after the "Welsh Revival". He had already painted many famous images of prayer and piety in Brittany, and it would seem the chapel and its congregation inspired him in much the same way.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: How does Salem (painting) explain its History?

Vosper had found success as a watercolour painter before coming to Wales; he had exhibited work in galleries throughout England, at the Paris Salon and the Royal Academy in London. He was noted for his paintings of people, particularly the residents of Le Faouët in Brittany. Vosper's Welsh period began with his marriage to Constance James of Merthyr Tydfil in 1902, and ended after her death in 1910.Vosper first saw Capel Salem in 1906, not long after the "Welsh Revival". He had already painted many famous images of prayer and piety in Brittany, and it would seem the chapel and its congregation inspired him in much the same way.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: In Salem (painting), how is the History discussed?

Vosper had found success as a watercolour painter before coming to Wales; he had exhibited work in galleries throughout England, at the Paris Salon and the Royal Academy in London. He was noted for his paintings of people, particularly the residents of Le Faouët in Brittany. Vosper's Welsh period began with his marriage to Constance James of Merthyr Tydfil in 1902, and ended after her death in 1910.Vosper first saw Capel Salem in 1906, not long after the "Welsh Revival". He had already painted many famous images of prayer and piety in Brittany, and it would seem the chapel and its congregation inspired him in much the same way.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Focus on Salem (painting) and explain the Composition.

The main figure is Siân Owen (born in Maesygarnedd in 1837); at the time of painting she was 71 and lived in Tŷ'n y Fawnog on the backroads from Llanbedr. Why Vosper chose Siân (who was not a member of the chapel) to be the main focus of the painting is unclear. There was a contemporary cultural image in Wales of a strong maternal figure (Mam Cymru) which was considered iconic to Welsh family life. For Vosper, Siân's own life and background would have reflected this image. Having lost her husband George in the 1880s, Siân lived as a widow, her son William had two sons himself, who Siân raised in her tiny cottage. Both grandsons would be tragically killed in the First World War, but Siân would live on until 1927, and is buried in Llanfair churchyard, Harlech.Siân Owen would have had to stand for days wearing the shawl so that Vosper could paint its intricate detail and folds. Vosper later complained that she twitched and moved so much that it became impossible for him to accurately reproduce the shawl's pattern and colour. Eventually Vosper decided to paint the final stages without Siân, pinning the shawl to a borrowed tailor's dummy instead. Despite this Vosper would again ask Siân Owen to model for another of his paintings, Market Day in Old Wales (1910).Of the other figures depicted, only one was a member of the chapel. Robert Williams of Caer Meddyg (a carpenter, farmer and deacon at Capel Salem), can be seen on the far left seated beneath the clock. Next to him, and slightly obscured is Laura Williams of Tŷ'n-y-Buarth, Llanfair. Left of her, with his back against the wall is Owen Jones (commonly called Owen Siôn) of Carleg Coch. The small boy is Evan Edward Lloyd and by his side is Mary Rowland. On the extreme right with his head bowed, is William Jones (William Siôn), brother of Owen. Vosper paid each model 6d. (2.5p) an hour for sitting.The eighth figure (second right of Siân Owen, wearing a Welsh hat) is not actually a model, but the tailor's dummy which Vosper had borrowed and named "Leusa Jones". The chapel elders were uncomfortable with a dummy being in a sacred place of worship, and insisted that it was removed each Saturday night before the "seiat" (weekly church meeting) the following morning.The Welsh hat was a fashion that had been current in the 1830s and 1840s. By the time of painting the hats were no longer worn by women in Wales, and the wearing of hats inside a chapel would have been considered a great faux pas, especially for women. Vosper, however, wanted the women to wear the traditional tall stove pipe hats that many believed were a permanent feature of rural Welsh life. In fact, Vosper could only find one remaining hat in the area and had to share the item amongst the models, painting the same hat into the composition four times. Siân Owen's ostentatious shawl was likewise an uncommon item and had to be borrowed from the wife of the vicar of Harlech.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Explain the Composition of this artwork, Salem (painting).

The main figure is Siân Owen (born in Maesygarnedd in 1837); at the time of painting she was 71 and lived in Tŷ'n y Fawnog on the backroads from Llanbedr. Why Vosper chose Siân (who was not a member of the chapel) to be the main focus of the painting is unclear. There was a contemporary cultural image in Wales of a strong maternal figure (Mam Cymru) which was considered iconic to Welsh family life. For Vosper, Siân's own life and background would have reflected this image. Having lost her husband George in the 1880s, Siân lived as a widow, her son William had two sons himself, who Siân raised in her tiny cottage. Both grandsons would be tragically killed in the First World War, but Siân would live on until 1927, and is buried in Llanfair churchyard, Harlech.Siân Owen would have had to stand for days wearing the shawl so that Vosper could paint its intricate detail and folds. Vosper later complained that she twitched and moved so much that it became impossible for him to accurately reproduce the shawl's pattern and colour. Eventually Vosper decided to paint the final stages without Siân, pinning the shawl to a borrowed tailor's dummy instead. Despite this Vosper would again ask Siân Owen to model for another of his paintings, Market Day in Old Wales (1910).Of the other figures depicted, only one was a member of the chapel. Robert Williams of Caer Meddyg (a carpenter, farmer and deacon at Capel Salem), can be seen on the far left seated beneath the clock. Next to him, and slightly obscured is Laura Williams of Tŷ'n-y-Buarth, Llanfair. Left of her, with his back against the wall is Owen Jones (commonly called Owen Siôn) of Carleg Coch. The small boy is Evan Edward Lloyd and by his side is Mary Rowland. On the extreme right with his head bowed, is William Jones (William Siôn), brother of Owen. Vosper paid each model 6d. (2.5p) an hour for sitting.The eighth figure (second right of Siân Owen, wearing a Welsh hat) is not actually a model, but the tailor's dummy which Vosper had borrowed and named "Leusa Jones". The chapel elders were uncomfortable with a dummy being in a sacred place of worship, and insisted that it was removed each Saturday night before the "seiat" (weekly church meeting) the following morning.The Welsh hat was a fashion that had been current in the 1830s and 1840s. By the time of painting the hats were no longer worn by women in Wales, and the wearing of hats inside a chapel would have been considered a great faux pas, especially for women. Vosper, however, wanted the women to wear the traditional tall stove pipe hats that many believed were a permanent feature of rural Welsh life. In fact, Vosper could only find one remaining hat in the area and had to share the item amongst the models, painting the same hat into the composition four times. Siân Owen's ostentatious shawl was likewise an uncommon item and had to be borrowed from the wife of the vicar of Harlech.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: How does Salem (painting) explain its Composition?

The main figure is Siân Owen (born in Maesygarnedd in 1837); at the time of painting she was 71 and lived in Tŷ'n y Fawnog on the backroads from Llanbedr. Why Vosper chose Siân (who was not a member of the chapel) to be the main focus of the painting is unclear. There was a contemporary cultural image in Wales of a strong maternal figure (Mam Cymru) which was considered iconic to Welsh family life. For Vosper, Siân's own life and background would have reflected this image. Having lost her husband George in the 1880s, Siân lived as a widow, her son William had two sons himself, who Siân raised in her tiny cottage. Both grandsons would be tragically killed in the First World War, but Siân would live on until 1927, and is buried in Llanfair churchyard, Harlech.Siân Owen would have had to stand for days wearing the shawl so that Vosper could paint its intricate detail and folds. Vosper later complained that she twitched and moved so much that it became impossible for him to accurately reproduce the shawl's pattern and colour. Eventually Vosper decided to paint the final stages without Siân, pinning the shawl to a borrowed tailor's dummy instead. Despite this Vosper would again ask Siân Owen to model for another of his paintings, Market Day in Old Wales (1910).Of the other figures depicted, only one was a member of the chapel. Robert Williams of Caer Meddyg (a carpenter, farmer and deacon at Capel Salem), can be seen on the far left seated beneath the clock. Next to him, and slightly obscured is Laura Williams of Tŷ'n-y-Buarth, Llanfair. Left of her, with his back against the wall is Owen Jones (commonly called Owen Siôn) of Carleg Coch. The small boy is Evan Edward Lloyd and by his side is Mary Rowland. On the extreme right with his head bowed, is William Jones (William Siôn), brother of Owen. Vosper paid each model 6d. (2.5p) an hour for sitting.The eighth figure (second right of Siân Owen, wearing a Welsh hat) is not actually a model, but the tailor's dummy which Vosper had borrowed and named "Leusa Jones". The chapel elders were uncomfortable with a dummy being in a sacred place of worship, and insisted that it was removed each Saturday night before the "seiat" (weekly church meeting) the following morning.The Welsh hat was a fashion that had been current in the 1830s and 1840s. By the time of painting the hats were no longer worn by women in Wales, and the wearing of hats inside a chapel would have been considered a great faux pas, especially for women. Vosper, however, wanted the women to wear the traditional tall stove pipe hats that many believed were a permanent feature of rural Welsh life. In fact, Vosper could only find one remaining hat in the area and had to share the item amongst the models, painting the same hat into the composition four times. Siân Owen's ostentatious shawl was likewise an uncommon item and had to be borrowed from the wife of the vicar of Harlech.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: In Salem (painting), how is the Composition discussed?

The main figure is Siân Owen (born in Maesygarnedd in 1837); at the time of painting she was 71 and lived in Tŷ'n y Fawnog on the backroads from Llanbedr. Why Vosper chose Siân (who was not a member of the chapel) to be the main focus of the painting is unclear. There was a contemporary cultural image in Wales of a strong maternal figure (Mam Cymru) which was considered iconic to Welsh family life. For Vosper, Siân's own life and background would have reflected this image. Having lost her husband George in the 1880s, Siân lived as a widow, her son William had two sons himself, who Siân raised in her tiny cottage. Both grandsons would be tragically killed in the First World War, but Siân would live on until 1927, and is buried in Llanfair churchyard, Harlech.Siân Owen would have had to stand for days wearing the shawl so that Vosper could paint its intricate detail and folds. Vosper later complained that she twitched and moved so much that it became impossible for him to accurately reproduce the shawl's pattern and colour. Eventually Vosper decided to paint the final stages without Siân, pinning the shawl to a borrowed tailor's dummy instead. Despite this Vosper would again ask Siân Owen to model for another of his paintings, Market Day in Old Wales (1910).Of the other figures depicted, only one was a member of the chapel. Robert Williams of Caer Meddyg (a carpenter, farmer and deacon at Capel Salem), can be seen on the far left seated beneath the clock. Next to him, and slightly obscured is Laura Williams of Tŷ'n-y-Buarth, Llanfair. Left of her, with his back against the wall is Owen Jones (commonly called Owen Siôn) of Carleg Coch. The small boy is Evan Edward Lloyd and by his side is Mary Rowland. On the extreme right with his head bowed, is William Jones (William Siôn), brother of Owen. Vosper paid each model 6d. (2.5p) an hour for sitting.The eighth figure (second right of Siân Owen, wearing a Welsh hat) is not actually a model, but the tailor's dummy which Vosper had borrowed and named "Leusa Jones". The chapel elders were uncomfortable with a dummy being in a sacred place of worship, and insisted that it was removed each Saturday night before the "seiat" (weekly church meeting) the following morning.The Welsh hat was a fashion that had been current in the 1830s and 1840s. By the time of painting the hats were no longer worn by women in Wales, and the wearing of hats inside a chapel would have been considered a great faux pas, especially for women. Vosper, however, wanted the women to wear the traditional tall stove pipe hats that many believed were a permanent feature of rural Welsh life. In fact, Vosper could only find one remaining hat in the area and had to share the item amongst the models, painting the same hat into the composition four times. Siân Owen's ostentatious shawl was likewise an uncommon item and had to be borrowed from the wife of the vicar of Harlech.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Focus on Salem (painting) and explain the Mass appeal.

Vosper exhibited Salem in 1909 at the Royal Academy in London, where it came to the attention of the industrialist William Hesketh Lever. Lever bought the painting for £105 and the original can be seen today in the art gallery he established at Port Sunlight. The painting may have remained obscure in his private collection had Lever not decided to use the painting in a promotion of the Lever Brothers' popular product Sunlight soap.The soap bars came with collectable tokens, and buying seven pounds of soap would acquire enough tokens to exchange for a print of the painting (an early example of marketing premiums). This promotion resulted in Salem appearing in many homes across Britain. At that time many homes owned no form of visual art and the innovative 'free gift' offer ensured that prints of Salem became widely, and uniquely popular amongst working-class communities, especially in Wales.By 1933 the painting was famous enough to be the subject of a notable article in the Welsh-language magazine Y Ford Gron ('The Round Table') and in 1937, Salem gained yet more popularity when Sir Ifan ab Owen Edwards sold thousands of prints to supporters of Urdd Gobaith Cymru for 6d. By 1942 it was described by Yr Aelwyd ('The Hearth') as "One of the most beautiful pictures of the religious life of Wales in old times", and in 1950, 1956 and 1957 many more Welsh households obtained copies when the picture was used in the Cymru Fydd calendar. By the 1960s, the painting was famous throughout Wales and was ubiquitous in many Welsh communities.Today a framed print of Salem hanging on the wall is a feature of many Welsh museums and historical buildings. In 2013, the painting featured in the first episode of the Welsh drama series Hinterland.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Explain the Mass appeal of this artwork, Salem (painting).

Vosper exhibited Salem in 1909 at the Royal Academy in London, where it came to the attention of the industrialist William Hesketh Lever. Lever bought the painting for £105 and the original can be seen today in the art gallery he established at Port Sunlight. The painting may have remained obscure in his private collection had Lever not decided to use the painting in a promotion of the Lever Brothers' popular product Sunlight soap.The soap bars came with collectable tokens, and buying seven pounds of soap would acquire enough tokens to exchange for a print of the painting (an early example of marketing premiums). This promotion resulted in Salem appearing in many homes across Britain. At that time many homes owned no form of visual art and the innovative 'free gift' offer ensured that prints of Salem became widely, and uniquely popular amongst working-class communities, especially in Wales.By 1933 the painting was famous enough to be the subject of a notable article in the Welsh-language magazine Y Ford Gron ('The Round Table') and in 1937, Salem gained yet more popularity when Sir Ifan ab Owen Edwards sold thousands of prints to supporters of Urdd Gobaith Cymru for 6d. By 1942 it was described by Yr Aelwyd ('The Hearth') as "One of the most beautiful pictures of the religious life of Wales in old times", and in 1950, 1956 and 1957 many more Welsh households obtained copies when the picture was used in the Cymru Fydd calendar. By the 1960s, the painting was famous throughout Wales and was ubiquitous in many Welsh communities.Today a framed print of Salem hanging on the wall is a feature of many Welsh museums and historical buildings. In 2013, the painting featured in the first episode of the Welsh drama series Hinterland.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: How does Salem (painting) explain its Mass appeal?

Vosper exhibited Salem in 1909 at the Royal Academy in London, where it came to the attention of the industrialist William Hesketh Lever. Lever bought the painting for £105 and the original can be seen today in the art gallery he established at Port Sunlight. The painting may have remained obscure in his private collection had Lever not decided to use the painting in a promotion of the Lever Brothers' popular product Sunlight soap.The soap bars came with collectable tokens, and buying seven pounds of soap would acquire enough tokens to exchange for a print of the painting (an early example of marketing premiums). This promotion resulted in Salem appearing in many homes across Britain. At that time many homes owned no form of visual art and the innovative 'free gift' offer ensured that prints of Salem became widely, and uniquely popular amongst working-class communities, especially in Wales.By 1933 the painting was famous enough to be the subject of a notable article in the Welsh-language magazine Y Ford Gron ('The Round Table') and in 1937, Salem gained yet more popularity when Sir Ifan ab Owen Edwards sold thousands of prints to supporters of Urdd Gobaith Cymru for 6d. By 1942 it was described by Yr Aelwyd ('The Hearth') as "One of the most beautiful pictures of the religious life of Wales in old times", and in 1950, 1956 and 1957 many more Welsh households obtained copies when the picture was used in the Cymru Fydd calendar. By the 1960s, the painting was famous throughout Wales and was ubiquitous in many Welsh communities.Today a framed print of Salem hanging on the wall is a feature of many Welsh museums and historical buildings. In 2013, the painting featured in the first episode of the Welsh drama series Hinterland.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight