Liberty Bell (Portland, Oregon)

Prompt: In Liberty Bell (Portland, Oregon), how is the abstract discussed?

Liberty Bell refers to one of two replicas in Portland, Oregon, United States, of the original Liberty Bell in Philadelphia. The first replica was purchased in 1962, and installed in the rotunda of City Hall in 1964. On November 21, 1970, it was destroyed in a bomb blast that also damaged the building's east portico. The second replica was installed outside of City Hall soon after the blast (c. 1972) with funds from private donations. It was dedicated on November 6, 1975. The bell is listed as a state veterans memorial by the Oregon Department of Veterans' Affairs.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Liberty Bell (Portland, Oregon)

Prompt: Focus on Liberty Bell (Portland, Oregon) and explain the Description.

The 1 ton (910 kg; 0.89 long tons) bell is made of Best Genuine Bell Metal, a sixteen percent min-copper alloy, and measures approximately 66 by 64 by 66 inches (1.7 m × 1.6 m × 1.7 m). It is attached to a horizontal beam that is supported by two V-shaped beams. The base is made of brick, metal (steel) and wood (mahogany covering) that measures approximately 13 by 76 by 54.5 inches (0.33 m × 1.93 m × 1.38 m).The west side displays the inscription Pass and Stow / Philada / MDCCLIII. Raised lettering along the top of the bell reads PROCLAIM LIBERTY THROUGHOUT ALL THE LAND UNTO ALL THE INHABITANTS THEREOF LEV. XX VVX. / BY ORDER OF THE ASSEMBLY OF THE PROVINCE OF PENNSYLVANIA FOR THE STATE HOUSE IN PHILADA. The founder's mark also appears. The Smithsonian Institution's "Save Outdoor Sculpture!" program categorizes the sculpture as allegorical for symbolizing liberty.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Liberty Bell (Portland, Oregon)

Prompt: Explain the Description of this artwork, Liberty Bell (Portland, Oregon).

The 1 ton (910 kg; 0.89 long tons) bell is made of Best Genuine Bell Metal, a sixteen percent min-copper alloy, and measures approximately 66 by 64 by 66 inches (1.7 m × 1.6 m × 1.7 m). It is attached to a horizontal beam that is supported by two V-shaped beams. The base is made of brick, metal (steel) and wood (mahogany covering) that measures approximately 13 by 76 by 54.5 inches (0.33 m × 1.93 m × 1.38 m).The west side displays the inscription Pass and Stow / Philada / MDCCLIII. Raised lettering along the top of the bell reads PROCLAIM LIBERTY THROUGHOUT ALL THE LAND UNTO ALL THE INHABITANTS THEREOF LEV. XX VVX. / BY ORDER OF THE ASSEMBLY OF THE PROVINCE OF PENNSYLVANIA FOR THE STATE HOUSE IN PHILADA. The founder's mark also appears. The Smithsonian Institution's "Save Outdoor Sculpture!" program categorizes the sculpture as allegorical for symbolizing liberty.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Liberty Bell (Portland, Oregon)

Prompt: How does Liberty Bell (Portland, Oregon) explain its Description?

The 1 ton (910 kg; 0.89 long tons) bell is made of Best Genuine Bell Metal, a sixteen percent min-copper alloy, and measures approximately 66 by 64 by 66 inches (1.7 m × 1.6 m × 1.7 m). It is attached to a horizontal beam that is supported by two V-shaped beams. The base is made of brick, metal (steel) and wood (mahogany covering) that measures approximately 13 by 76 by 54.5 inches (0.33 m × 1.93 m × 1.38 m).The west side displays the inscription Pass and Stow / Philada / MDCCLIII. Raised lettering along the top of the bell reads PROCLAIM LIBERTY THROUGHOUT ALL THE LAND UNTO ALL THE INHABITANTS THEREOF LEV. XX VVX. / BY ORDER OF THE ASSEMBLY OF THE PROVINCE OF PENNSYLVANIA FOR THE STATE HOUSE IN PHILADA. The founder's mark also appears. The Smithsonian Institution's "Save Outdoor Sculpture!" program categorizes the sculpture as allegorical for symbolizing liberty.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Liberty Bell (Portland, Oregon)

Prompt: In Liberty Bell (Portland, Oregon), how is the Description discussed?

The 1 ton (910 kg; 0.89 long tons) bell is made of Best Genuine Bell Metal, a sixteen percent min-copper alloy, and measures approximately 66 by 64 by 66 inches (1.7 m × 1.6 m × 1.7 m). It is attached to a horizontal beam that is supported by two V-shaped beams. The base is made of brick, metal (steel) and wood (mahogany covering) that measures approximately 13 by 76 by 54.5 inches (0.33 m × 1.93 m × 1.38 m).The west side displays the inscription Pass and Stow / Philada / MDCCLIII. Raised lettering along the top of the bell reads PROCLAIM LIBERTY THROUGHOUT ALL THE LAND UNTO ALL THE INHABITANTS THEREOF LEV. XX VVX. / BY ORDER OF THE ASSEMBLY OF THE PROVINCE OF PENNSYLVANIA FOR THE STATE HOUSE IN PHILADA. The founder's mark also appears. The Smithsonian Institution's "Save Outdoor Sculpture!" program categorizes the sculpture as allegorical for symbolizing liberty.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Liberty Bell (Portland, Oregon)

Prompt: Focus on Liberty Bell (Portland, Oregon) and explain the History.

Portland has had two replicas of Philadelphia's original Liberty Bell. The first replica was purchased in 1962 for $8,000. It was constructed at the McShane Bell Foundry in Baltimore and received a 25-year guarantee against breakage. The bell arrived in Portland in June 1963, with a damaged base and beam since the sculpture had slipped off its supports. Repairs were made before the replica was paraded through the city on a flatbed truck, then put into storage until Independence Day, when the bell was presented to the city. It was publicly rung for the first time during holiday celebrations and installed in City Hall's rotunda on May 5, 1964.On November 21, 1970, a dynamite bomb that had been placed beneath the bell detonated, damaging City Hall's east portico columns, shattering windows, and destroying the replica. No one was injured, but "shards of bell went everywhere through the main portico". The crime remains unsolved; no one claimed responsibility or was prosecuted for the blast. In 1993, The Oregonian said: "Wild, highly vocal speculation blamed the blast on either left-wing or right-wing terrorists, depending, of course, on the accusers' own political persuasions. Others guessed it was a monumental prank that careened out of control."Portland's second replica is located outside of City Hall's east portico, near the intersection of Southwest Fourth and Madison streets and across from Terry Schrunk Plaza. Private donations totaling $8,000 allowed a new bell to be purchased for $6,000 and installed not long after the blast (c. 1972). The bell has also been attributed as a gift from Philadelphia residents to Portland school children. It was dedicated on November 6, 1975. The replica was surveyed and considered "treatment needed" by the "Save Outdoor Sculpture!" program in October 1993. The Oregon Department of Veterans' Affairs lists the bell as one of the state's veterans memorials. It has been included in published walking tours of Portland.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Liberty Bell (Portland, Oregon)

Prompt: Explain the History of this artwork, Liberty Bell (Portland, Oregon).

Portland has had two replicas of Philadelphia's original Liberty Bell. The first replica was purchased in 1962 for $8,000. It was constructed at the McShane Bell Foundry in Baltimore and received a 25-year guarantee against breakage. The bell arrived in Portland in June 1963, with a damaged base and beam since the sculpture had slipped off its supports. Repairs were made before the replica was paraded through the city on a flatbed truck, then put into storage until Independence Day, when the bell was presented to the city. It was publicly rung for the first time during holiday celebrations and installed in City Hall's rotunda on May 5, 1964.On November 21, 1970, a dynamite bomb that had been placed beneath the bell detonated, damaging City Hall's east portico columns, shattering windows, and destroying the replica. No one was injured, but "shards of bell went everywhere through the main portico". The crime remains unsolved; no one claimed responsibility or was prosecuted for the blast. In 1993, The Oregonian said: "Wild, highly vocal speculation blamed the blast on either left-wing or right-wing terrorists, depending, of course, on the accusers' own political persuasions. Others guessed it was a monumental prank that careened out of control."Portland's second replica is located outside of City Hall's east portico, near the intersection of Southwest Fourth and Madison streets and across from Terry Schrunk Plaza. Private donations totaling $8,000 allowed a new bell to be purchased for $6,000 and installed not long after the blast (c. 1972). The bell has also been attributed as a gift from Philadelphia residents to Portland school children. It was dedicated on November 6, 1975. The replica was surveyed and considered "treatment needed" by the "Save Outdoor Sculpture!" program in October 1993. The Oregon Department of Veterans' Affairs lists the bell as one of the state's veterans memorials. It has been included in published walking tours of Portland.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Liberty Bell (Portland, Oregon)

Prompt: How does Liberty Bell (Portland, Oregon) explain its History?

Portland has had two replicas of Philadelphia's original Liberty Bell. The first replica was purchased in 1962 for $8,000. It was constructed at the McShane Bell Foundry in Baltimore and received a 25-year guarantee against breakage. The bell arrived in Portland in June 1963, with a damaged base and beam since the sculpture had slipped off its supports. Repairs were made before the replica was paraded through the city on a flatbed truck, then put into storage until Independence Day, when the bell was presented to the city. It was publicly rung for the first time during holiday celebrations and installed in City Hall's rotunda on May 5, 1964.On November 21, 1970, a dynamite bomb that had been placed beneath the bell detonated, damaging City Hall's east portico columns, shattering windows, and destroying the replica. No one was injured, but "shards of bell went everywhere through the main portico". The crime remains unsolved; no one claimed responsibility or was prosecuted for the blast. In 1993, The Oregonian said: "Wild, highly vocal speculation blamed the blast on either left-wing or right-wing terrorists, depending, of course, on the accusers' own political persuasions. Others guessed it was a monumental prank that careened out of control."Portland's second replica is located outside of City Hall's east portico, near the intersection of Southwest Fourth and Madison streets and across from Terry Schrunk Plaza. Private donations totaling $8,000 allowed a new bell to be purchased for $6,000 and installed not long after the blast (c. 1972). The bell has also been attributed as a gift from Philadelphia residents to Portland school children. It was dedicated on November 6, 1975. The replica was surveyed and considered "treatment needed" by the "Save Outdoor Sculpture!" program in October 1993. The Oregon Department of Veterans' Affairs lists the bell as one of the state's veterans memorials. It has been included in published walking tours of Portland.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Liberty Bell (Portland, Oregon)

Prompt: In Liberty Bell (Portland, Oregon), how is the History discussed?

Portland has had two replicas of Philadelphia's original Liberty Bell. The first replica was purchased in 1962 for $8,000. It was constructed at the McShane Bell Foundry in Baltimore and received a 25-year guarantee against breakage. The bell arrived in Portland in June 1963, with a damaged base and beam since the sculpture had slipped off its supports. Repairs were made before the replica was paraded through the city on a flatbed truck, then put into storage until Independence Day, when the bell was presented to the city. It was publicly rung for the first time during holiday celebrations and installed in City Hall's rotunda on May 5, 1964.On November 21, 1970, a dynamite bomb that had been placed beneath the bell detonated, damaging City Hall's east portico columns, shattering windows, and destroying the replica. No one was injured, but "shards of bell went everywhere through the main portico". The crime remains unsolved; no one claimed responsibility or was prosecuted for the blast. In 1993, The Oregonian said: "Wild, highly vocal speculation blamed the blast on either left-wing or right-wing terrorists, depending, of course, on the accusers' own political persuasions. Others guessed it was a monumental prank that careened out of control."Portland's second replica is located outside of City Hall's east portico, near the intersection of Southwest Fourth and Madison streets and across from Terry Schrunk Plaza. Private donations totaling $8,000 allowed a new bell to be purchased for $6,000 and installed not long after the blast (c. 1972). The bell has also been attributed as a gift from Philadelphia residents to Portland school children. It was dedicated on November 6, 1975. The replica was surveyed and considered "treatment needed" by the "Save Outdoor Sculpture!" program in October 1993. The Oregon Department of Veterans' Affairs lists the bell as one of the state's veterans memorials. It has been included in published walking tours of Portland.

The bell outside [[Portland City Hall (Oregon)

Category:Military monuments and memorials in the United States

Category:Allegorical sculptures in Oregon

Category:Individual bells in the United States

Category:Vandalized works of art in Portland, Oregon

Category:Monuments and memorials in Portland, Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

File:City Hall, Portland, Oregon (2012) - 02.JPG

Category:Demolished buildings and structures in Oregon


Fight with Cudgels

Prompt: Focus on Fight with Cudgels and explain the abstract.

Fight with Cudgels (Spanish: Riña a garrotazos or Duelo a garrotazos), called The Strangers or Cowherds in the inventories, is the name given to a painting by Spanish artist Francisco Goya, now in the Museo del Prado, Madrid. Goya did not give names to his Black Paintings. These names are courtesy of art historians. One of the series of Black Paintings Goya painted directly onto the walls of his house sometime between 1820 and 1823, it depicts two men fighting one another with cudgels, as they seem to be trapped knee-deep in a quagmire of mud or sand.In 1819, Goya purchased a house on the banks of the Manzanares near Madrid named Quinta del Sordo ("Villa of the Deaf Man"). It was a small two-story house that was named after a previous occupant who had been deaf, although Goya had also been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he moved to Bordeaux, Goya produced a series of 14 works, which he painted with oils directly onto the walls of the house. Fight with Cudgels had been situated in the upper room of Quinta del Sordo.

Category:Paintings by Francisco Goya in the Museo del Prado

File:Duelo a garrotazos de Goya fotografíado por J. Laurent.jpg

Photograph by [[Jean Laurent (photographer)

category:Allegorical paintings by Spanish artists


Fight with Cudgels

Prompt: Explain the abstract of this artwork, Fight with Cudgels.

Fight with Cudgels (Spanish: Riña a garrotazos or Duelo a garrotazos), called The Strangers or Cowherds in the inventories, is the name given to a painting by Spanish artist Francisco Goya, now in the Museo del Prado, Madrid. Goya did not give names to his Black Paintings. These names are courtesy of art historians. One of the series of Black Paintings Goya painted directly onto the walls of his house sometime between 1820 and 1823, it depicts two men fighting one another with cudgels, as they seem to be trapped knee-deep in a quagmire of mud or sand.In 1819, Goya purchased a house on the banks of the Manzanares near Madrid named Quinta del Sordo ("Villa of the Deaf Man"). It was a small two-story house that was named after a previous occupant who had been deaf, although Goya had also been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he moved to Bordeaux, Goya produced a series of 14 works, which he painted with oils directly onto the walls of the house. Fight with Cudgels had been situated in the upper room of Quinta del Sordo.

Category:Paintings by Francisco Goya in the Museo del Prado

File:Duelo a garrotazos de Goya fotografíado por J. Laurent.jpg

Photograph by [[Jean Laurent (photographer)

category:Allegorical paintings by Spanish artists


Fight with Cudgels

Prompt: How does Fight with Cudgels explain its abstract?

Fight with Cudgels (Spanish: Riña a garrotazos or Duelo a garrotazos), called The Strangers or Cowherds in the inventories, is the name given to a painting by Spanish artist Francisco Goya, now in the Museo del Prado, Madrid. Goya did not give names to his Black Paintings. These names are courtesy of art historians. One of the series of Black Paintings Goya painted directly onto the walls of his house sometime between 1820 and 1823, it depicts two men fighting one another with cudgels, as they seem to be trapped knee-deep in a quagmire of mud or sand.In 1819, Goya purchased a house on the banks of the Manzanares near Madrid named Quinta del Sordo ("Villa of the Deaf Man"). It was a small two-story house that was named after a previous occupant who had been deaf, although Goya had also been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he moved to Bordeaux, Goya produced a series of 14 works, which he painted with oils directly onto the walls of the house. Fight with Cudgels had been situated in the upper room of Quinta del Sordo.

Category:Paintings by Francisco Goya in the Museo del Prado

File:Duelo a garrotazos de Goya fotografíado por J. Laurent.jpg

Photograph by [[Jean Laurent (photographer)

category:Allegorical paintings by Spanish artists


Fight with Cudgels

Prompt: In Fight with Cudgels, how is the abstract discussed?

Fight with Cudgels (Spanish: Riña a garrotazos or Duelo a garrotazos), called The Strangers or Cowherds in the inventories, is the name given to a painting by Spanish artist Francisco Goya, now in the Museo del Prado, Madrid. Goya did not give names to his Black Paintings. These names are courtesy of art historians. One of the series of Black Paintings Goya painted directly onto the walls of his house sometime between 1820 and 1823, it depicts two men fighting one another with cudgels, as they seem to be trapped knee-deep in a quagmire of mud or sand.In 1819, Goya purchased a house on the banks of the Manzanares near Madrid named Quinta del Sordo ("Villa of the Deaf Man"). It was a small two-story house that was named after a previous occupant who had been deaf, although Goya had also been left deaf after contracting a fever in 1792. Between 1819 and 1823, when he moved to Bordeaux, Goya produced a series of 14 works, which he painted with oils directly onto the walls of the house. Fight with Cudgels had been situated in the upper room of Quinta del Sordo.

Category:Paintings by Francisco Goya in the Museo del Prado

File:Duelo a garrotazos de Goya fotografíado por J. Laurent.jpg

Photograph by [[Jean Laurent (photographer)

category:Allegorical paintings by Spanish artists


Fight with Cudgels

Prompt: Focus on Fight with Cudgels and explain the Interpretations.

The traditional interpretation has been a fight of two commoners fighting in a desolate place trapped knee-deep.The British researcher Nigel Glendinning had already remarked on the differences between the final detail of the Black Paintings and the detail documented by Jean Laurent, before the transfer from the wall of Goya's home. By the end of 2010, another study of the Laurent images by Carlos Foradada, a painter and teacher of Art History, restated that Goya painted the duelists standing in high grass rather than knee-deep in mud. The failure in the transfer caused the loss of large areas of the painting, which was then concealed below the knees. This favored the interpretation of the interred legs.According to Francisco-Xavier de Salas Bosch, Goya may have been referencing an allegory (number 75) that appears in the work by Diego de Saavedra Fajardo, the emblem book Empresas Políticas [Political Maxims], Idea de un príncipe político cristiano, which contained a hundred short essays on the education of a prince.  The allegory referred to the Greek myth of Cadmus and the dragon's teeth. By the instructions of Athena, Cadmus sowed the dragon's teeth in the ground, from which there sprang a race of fierce armed men, called Spartoi ("sown"). By throwing a stone among them, Cadmus caused them to fall upon one another until only five survived, who assisted him in building the Cadmea (citadel) of Thebes.Saavedra used this imagery to discuss how some rulers stir up discord to establish peace in their kingdoms ultimately. Goya's use of this allegory may have referred to the policies and politics of Ferdinand VII.

Category:Paintings by Francisco Goya in the Museo del Prado

File:Duelo a garrotazos de Goya fotografíado por J. Laurent.jpg

Photograph by [[Jean Laurent (photographer)

category:Allegorical paintings by Spanish artists


Fight with Cudgels

Prompt: Explain the Interpretations of this artwork, Fight with Cudgels.

The traditional interpretation has been a fight of two commoners fighting in a desolate place trapped knee-deep.The British researcher Nigel Glendinning had already remarked on the differences between the final detail of the Black Paintings and the detail documented by Jean Laurent, before the transfer from the wall of Goya's home. By the end of 2010, another study of the Laurent images by Carlos Foradada, a painter and teacher of Art History, restated that Goya painted the duelists standing in high grass rather than knee-deep in mud. The failure in the transfer caused the loss of large areas of the painting, which was then concealed below the knees. This favored the interpretation of the interred legs.According to Francisco-Xavier de Salas Bosch, Goya may have been referencing an allegory (number 75) that appears in the work by Diego de Saavedra Fajardo, the emblem book Empresas Políticas [Political Maxims], Idea de un príncipe político cristiano, which contained a hundred short essays on the education of a prince.  The allegory referred to the Greek myth of Cadmus and the dragon's teeth. By the instructions of Athena, Cadmus sowed the dragon's teeth in the ground, from which there sprang a race of fierce armed men, called Spartoi ("sown"). By throwing a stone among them, Cadmus caused them to fall upon one another until only five survived, who assisted him in building the Cadmea (citadel) of Thebes.Saavedra used this imagery to discuss how some rulers stir up discord to establish peace in their kingdoms ultimately. Goya's use of this allegory may have referred to the policies and politics of Ferdinand VII.

Category:Paintings by Francisco Goya in the Museo del Prado

File:Duelo a garrotazos de Goya fotografíado por J. Laurent.jpg

Photograph by [[Jean Laurent (photographer)

category:Allegorical paintings by Spanish artists


Fight with Cudgels

Prompt: How does Fight with Cudgels explain its Interpretations?

The traditional interpretation has been a fight of two commoners fighting in a desolate place trapped knee-deep.The British researcher Nigel Glendinning had already remarked on the differences between the final detail of the Black Paintings and the detail documented by Jean Laurent, before the transfer from the wall of Goya's home. By the end of 2010, another study of the Laurent images by Carlos Foradada, a painter and teacher of Art History, restated that Goya painted the duelists standing in high grass rather than knee-deep in mud. The failure in the transfer caused the loss of large areas of the painting, which was then concealed below the knees. This favored the interpretation of the interred legs.According to Francisco-Xavier de Salas Bosch, Goya may have been referencing an allegory (number 75) that appears in the work by Diego de Saavedra Fajardo, the emblem book Empresas Políticas [Political Maxims], Idea de un príncipe político cristiano, which contained a hundred short essays on the education of a prince.  The allegory referred to the Greek myth of Cadmus and the dragon's teeth. By the instructions of Athena, Cadmus sowed the dragon's teeth in the ground, from which there sprang a race of fierce armed men, called Spartoi ("sown"). By throwing a stone among them, Cadmus caused them to fall upon one another until only five survived, who assisted him in building the Cadmea (citadel) of Thebes.Saavedra used this imagery to discuss how some rulers stir up discord to establish peace in their kingdoms ultimately. Goya's use of this allegory may have referred to the policies and politics of Ferdinand VII.

Category:Paintings by Francisco Goya in the Museo del Prado

File:Duelo a garrotazos de Goya fotografíado por J. Laurent.jpg

Photograph by [[Jean Laurent (photographer)

category:Allegorical paintings by Spanish artists


Fight with Cudgels

Prompt: In Fight with Cudgels, how is the Interpretations discussed?

The traditional interpretation has been a fight of two commoners fighting in a desolate place trapped knee-deep.The British researcher Nigel Glendinning had already remarked on the differences between the final detail of the Black Paintings and the detail documented by Jean Laurent, before the transfer from the wall of Goya's home. By the end of 2010, another study of the Laurent images by Carlos Foradada, a painter and teacher of Art History, restated that Goya painted the duelists standing in high grass rather than knee-deep in mud. The failure in the transfer caused the loss of large areas of the painting, which was then concealed below the knees. This favored the interpretation of the interred legs.According to Francisco-Xavier de Salas Bosch, Goya may have been referencing an allegory (number 75) that appears in the work by Diego de Saavedra Fajardo, the emblem book Empresas Políticas [Political Maxims], Idea de un príncipe político cristiano, which contained a hundred short essays on the education of a prince.  The allegory referred to the Greek myth of Cadmus and the dragon's teeth. By the instructions of Athena, Cadmus sowed the dragon's teeth in the ground, from which there sprang a race of fierce armed men, called Spartoi ("sown"). By throwing a stone among them, Cadmus caused them to fall upon one another until only five survived, who assisted him in building the Cadmea (citadel) of Thebes.Saavedra used this imagery to discuss how some rulers stir up discord to establish peace in their kingdoms ultimately. Goya's use of this allegory may have referred to the policies and politics of Ferdinand VII.

Category:Paintings by Francisco Goya in the Museo del Prado

File:Duelo a garrotazos de Goya fotografíado por J. Laurent.jpg

Photograph by [[Jean Laurent (photographer)

category:Allegorical paintings by Spanish artists


Las Meninas (Picasso)

Prompt: Focus on Las Meninas (Picasso) and explain the abstract.

Las Meninas is a series of 58 paintings that Pablo Picasso painted in 1957 by performing a comprehensive analysis, reinterpreting and recreating several times Las Meninas by Diego Velazquez. The suite is fully preserved at the Museu Picasso in Barcelona and is the only complete series of the artist that remains together. This is a very extensive survey work, which consists of 45 performances of the original picture, 9 scenes of a dove, 3 landscapes and a portrait of Jacqueline.Picasso himself understood this series as a whole, and as such gave them to the museum in Barcelona in May 1968, in memory of Jaume Sabartés, who died the same year. Picasso's famous phrase said to Sabartés in 1950:If someone want to copy Las Meninas, entirely in good faith, for example, upon reaching a certain point and if that ona was me, I would say..what if you put them a little more to the right or left? I'll try to do it my way, forgetting about Velázquez. The test would surely bring me to modify or change the light because of having changed the position of a character. So, little by little, that would be a detestable Meninas for a traditional painter, but would be my Meninas.

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: Explain the abstract of this artwork, Las Meninas (Picasso).

Las Meninas is a series of 58 paintings that Pablo Picasso painted in 1957 by performing a comprehensive analysis, reinterpreting and recreating several times Las Meninas by Diego Velazquez. The suite is fully preserved at the Museu Picasso in Barcelona and is the only complete series of the artist that remains together. This is a very extensive survey work, which consists of 45 performances of the original picture, 9 scenes of a dove, 3 landscapes and a portrait of Jacqueline.Picasso himself understood this series as a whole, and as such gave them to the museum in Barcelona in May 1968, in memory of Jaume Sabartés, who died the same year. Picasso's famous phrase said to Sabartés in 1950:If someone want to copy Las Meninas, entirely in good faith, for example, upon reaching a certain point and if that ona was me, I would say..what if you put them a little more to the right or left? I'll try to do it my way, forgetting about Velázquez. The test would surely bring me to modify or change the light because of having changed the position of a character. So, little by little, that would be a detestable Meninas for a traditional painter, but would be my Meninas.

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: How does Las Meninas (Picasso) explain its abstract?

Las Meninas is a series of 58 paintings that Pablo Picasso painted in 1957 by performing a comprehensive analysis, reinterpreting and recreating several times Las Meninas by Diego Velazquez. The suite is fully preserved at the Museu Picasso in Barcelona and is the only complete series of the artist that remains together. This is a very extensive survey work, which consists of 45 performances of the original picture, 9 scenes of a dove, 3 landscapes and a portrait of Jacqueline.Picasso himself understood this series as a whole, and as such gave them to the museum in Barcelona in May 1968, in memory of Jaume Sabartés, who died the same year. Picasso's famous phrase said to Sabartés in 1950:If someone want to copy Las Meninas, entirely in good faith, for example, upon reaching a certain point and if that ona was me, I would say..what if you put them a little more to the right or left? I'll try to do it my way, forgetting about Velázquez. The test would surely bring me to modify or change the light because of having changed the position of a character. So, little by little, that would be a detestable Meninas for a traditional painter, but would be my Meninas.

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: In Las Meninas (Picasso), how is the abstract discussed?

Las Meninas is a series of 58 paintings that Pablo Picasso painted in 1957 by performing a comprehensive analysis, reinterpreting and recreating several times Las Meninas by Diego Velazquez. The suite is fully preserved at the Museu Picasso in Barcelona and is the only complete series of the artist that remains together. This is a very extensive survey work, which consists of 45 performances of the original picture, 9 scenes of a dove, 3 landscapes and a portrait of Jacqueline.Picasso himself understood this series as a whole, and as such gave them to the museum in Barcelona in May 1968, in memory of Jaume Sabartés, who died the same year. Picasso's famous phrase said to Sabartés in 1950:If someone want to copy Las Meninas, entirely in good faith, for example, upon reaching a certain point and if that ona was me, I would say..what if you put them a little more to the right or left? I'll try to do it my way, forgetting about Velázquez. The test would surely bring me to modify or change the light because of having changed the position of a character. So, little by little, that would be a detestable Meninas for a traditional painter, but would be my Meninas.

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: Focus on Las Meninas (Picasso) and explain the Exhibits.

The Suite has been shown in the following exhibitions:1959 - Les Menines, Galerie Louise Leiris, Paris.1960 - Picasso, Tate Gallery, London.1964 - Pablo Picasso. Exhibition Japan 1964, National Museum of Modern Art, Tokyo, Japan.1964 - Pablo Picasso. Exhibition Japan 1964, National Museum of Modern Art, Kyoto, Japan.1964 - Pablo Picasso. Exhibition Japan 1964, Nagoya City Art Museum, Japan.1966 - 1967 - Hommage à Pablo Picasso, Grand Palais, Paris.1967 - Stedelijk Museum Amsterdam.1968 - Museu Picasso, Barcelona.2008 - Forgetting Velázquez: Between 16 May and 28 September 2008, an exhibition at the Museu Picasso in Barcelona, which explains the influence of Velázquez and Picasso's work in other contemporary artists, having as central to Las Meninas.The exhibition, divided into two sections, we could see one side works of the seventeenth century Spanish painters such as Velázquez, Juan Carreño de Miranda or Juan Bautista del Mazo, and some of the Las Meninas by Picasso next to more contemporary productions, with works by artists such as Francisco Goya, Michael Craig-Martin, Josep Maria Sert, Richard Hamilton or Thomas Struth, among others. It was curated by Gertje Utley and Malén Gual.However, there are several works from theSuitethat have been part of other exhibitions. Here you will find the most relevant:1980 - Picasso: A Retrospective, MoMA, Nova York.1981 - Picasso 1881-1973. Exposición Antológica, Museo Español de Arte Contemporáneo, Madrid.1985 - La peinture après 1940. Stedelijk Museum, Amsterdam1988 - Picasso in the Soviet Union. Pushkin Museum, Moscou2006 - Picasso. Tradición y vanguardia. Museo Nacional del Prado, Madrid2008 - Picasso et les Maîtres. Grand Palais, Paris2009 - Picasso: Challenging the past. National Gallery of London2010 - Picasso: Peace and Freedom. Tate Liverpool

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: Explain the Exhibits of this artwork, Las Meninas (Picasso).

The Suite has been shown in the following exhibitions:1959 - Les Menines, Galerie Louise Leiris, Paris.1960 - Picasso, Tate Gallery, London.1964 - Pablo Picasso. Exhibition Japan 1964, National Museum of Modern Art, Tokyo, Japan.1964 - Pablo Picasso. Exhibition Japan 1964, National Museum of Modern Art, Kyoto, Japan.1964 - Pablo Picasso. Exhibition Japan 1964, Nagoya City Art Museum, Japan.1966 - 1967 - Hommage à Pablo Picasso, Grand Palais, Paris.1967 - Stedelijk Museum Amsterdam.1968 - Museu Picasso, Barcelona.2008 - Forgetting Velázquez: Between 16 May and 28 September 2008, an exhibition at the Museu Picasso in Barcelona, which explains the influence of Velázquez and Picasso's work in other contemporary artists, having as central to Las Meninas.The exhibition, divided into two sections, we could see one side works of the seventeenth century Spanish painters such as Velázquez, Juan Carreño de Miranda or Juan Bautista del Mazo, and some of the Las Meninas by Picasso next to more contemporary productions, with works by artists such as Francisco Goya, Michael Craig-Martin, Josep Maria Sert, Richard Hamilton or Thomas Struth, among others. It was curated by Gertje Utley and Malén Gual.However, there are several works from theSuitethat have been part of other exhibitions. Here you will find the most relevant:1980 - Picasso: A Retrospective, MoMA, Nova York.1981 - Picasso 1881-1973. Exposición Antológica, Museo Español de Arte Contemporáneo, Madrid.1985 - La peinture après 1940. Stedelijk Museum, Amsterdam1988 - Picasso in the Soviet Union. Pushkin Museum, Moscou2006 - Picasso. Tradición y vanguardia. Museo Nacional del Prado, Madrid2008 - Picasso et les Maîtres. Grand Palais, Paris2009 - Picasso: Challenging the past. National Gallery of London2010 - Picasso: Peace and Freedom. Tate Liverpool

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: How does Las Meninas (Picasso) explain its Exhibits?

The Suite has been shown in the following exhibitions:1959 - Les Menines, Galerie Louise Leiris, Paris.1960 - Picasso, Tate Gallery, London.1964 - Pablo Picasso. Exhibition Japan 1964, National Museum of Modern Art, Tokyo, Japan.1964 - Pablo Picasso. Exhibition Japan 1964, National Museum of Modern Art, Kyoto, Japan.1964 - Pablo Picasso. Exhibition Japan 1964, Nagoya City Art Museum, Japan.1966 - 1967 - Hommage à Pablo Picasso, Grand Palais, Paris.1967 - Stedelijk Museum Amsterdam.1968 - Museu Picasso, Barcelona.2008 - Forgetting Velázquez: Between 16 May and 28 September 2008, an exhibition at the Museu Picasso in Barcelona, which explains the influence of Velázquez and Picasso's work in other contemporary artists, having as central to Las Meninas.The exhibition, divided into two sections, we could see one side works of the seventeenth century Spanish painters such as Velázquez, Juan Carreño de Miranda or Juan Bautista del Mazo, and some of the Las Meninas by Picasso next to more contemporary productions, with works by artists such as Francisco Goya, Michael Craig-Martin, Josep Maria Sert, Richard Hamilton or Thomas Struth, among others. It was curated by Gertje Utley and Malén Gual.However, there are several works from theSuitethat have been part of other exhibitions. Here you will find the most relevant:1980 - Picasso: A Retrospective, MoMA, Nova York.1981 - Picasso 1881-1973. Exposición Antológica, Museo Español de Arte Contemporáneo, Madrid.1985 - La peinture après 1940. Stedelijk Museum, Amsterdam1988 - Picasso in the Soviet Union. Pushkin Museum, Moscou2006 - Picasso. Tradición y vanguardia. Museo Nacional del Prado, Madrid2008 - Picasso et les Maîtres. Grand Palais, Paris2009 - Picasso: Challenging the past. National Gallery of London2010 - Picasso: Peace and Freedom. Tate Liverpool

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: In Las Meninas (Picasso), how is the Exhibits discussed?

The Suite has been shown in the following exhibitions:1959 - Les Menines, Galerie Louise Leiris, Paris.1960 - Picasso, Tate Gallery, London.1964 - Pablo Picasso. Exhibition Japan 1964, National Museum of Modern Art, Tokyo, Japan.1964 - Pablo Picasso. Exhibition Japan 1964, National Museum of Modern Art, Kyoto, Japan.1964 - Pablo Picasso. Exhibition Japan 1964, Nagoya City Art Museum, Japan.1966 - 1967 - Hommage à Pablo Picasso, Grand Palais, Paris.1967 - Stedelijk Museum Amsterdam.1968 - Museu Picasso, Barcelona.2008 - Forgetting Velázquez: Between 16 May and 28 September 2008, an exhibition at the Museu Picasso in Barcelona, which explains the influence of Velázquez and Picasso's work in other contemporary artists, having as central to Las Meninas.The exhibition, divided into two sections, we could see one side works of the seventeenth century Spanish painters such as Velázquez, Juan Carreño de Miranda or Juan Bautista del Mazo, and some of the Las Meninas by Picasso next to more contemporary productions, with works by artists such as Francisco Goya, Michael Craig-Martin, Josep Maria Sert, Richard Hamilton or Thomas Struth, among others. It was curated by Gertje Utley and Malén Gual.However, there are several works from theSuitethat have been part of other exhibitions. Here you will find the most relevant:1980 - Picasso: A Retrospective, MoMA, Nova York.1981 - Picasso 1881-1973. Exposición Antológica, Museo Español de Arte Contemporáneo, Madrid.1985 - La peinture après 1940. Stedelijk Museum, Amsterdam1988 - Picasso in the Soviet Union. Pushkin Museum, Moscou2006 - Picasso. Tradición y vanguardia. Museo Nacional del Prado, Madrid2008 - Picasso et les Maîtres. Grand Palais, Paris2009 - Picasso: Challenging the past. National Gallery of London2010 - Picasso: Peace and Freedom. Tate Liverpool

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: Focus on Las Meninas (Picasso) and explain the Other versions.

Velázquez's Las Meninas have served as inspiration not only to Picasso. The first follower of Velazquez was certainly his son-in-law Juan Bautista del Mazo, court painter to Philip IVin 1661. In the portrait of the Infanta Margarita of Spain, 1666, in the backplane, man can see the placement of Charles II and the dwarf Mari Bárbola in a scene similar to Las Meninas by Velazquez. There is a list of some works of artists who also have versioned Las Meninas throughout art history.Claudio Bravo, La vistaHerman Braun-Vega :Velázquez mis à nu accompagné des menines (1968), Museum of AntioquiaVelásquez Going to His Easel (From the series Velázquez Stripped Bare) (1968), Blanton Museum of ArtLes invités sur l'herbe d'après Vélasquez, Manet et Picasso (1970), Musée d'Art Moderne de Paris¡Caramba! (Cézanne, Goya, Ingres, Matisse, Picasso, Rembrandt, Vélasquez) (1983), private collectionIl est interdit de s’arrêter (Velazquez) (1984), private collectionHotel du Sud (Vélasquez, Ingres, Manet et Matisse) (1985), private collectionDual insight into the West (Velazquez and Picasso) (1987), private collectionLa familia Informal (Vélasquez, Goya, Picasso) (1992), Ralli Museum (Marbella)Concierto en el mercado (Vélasquez) (1997), private collectionJuan Pareja revisiting Picasso Meninas (Velazquez) (2000), private collectionLouis Cane, Meninas squatting (1982), private collectionPhilippe Comar, Las Meninas (1978), Centre Georges PompidouEquipo Crónica, El recinte (1971), private collectionSalvador Dalí, Velázquez pintant la infanta Margarida amb les llums i les ombres de la seva pròpia glòria (1958), Salvador Dalí MuseumEdgar Degas, Variation on Velázquez's Las Meninas (1857), Neue PinakothekAntonio de Felipe, In-Fanta de llimona II (1992), Iria Souto Catoira collectionLuca Giordano, Hommage to Velázquez (National Gallery of LondonAlberto Gironella, Cambra Oscura (1975), private collectionFrancisco de Goya, Las Meninas (1780–85) Biblioteca Nacional de EspañaRichard Hamilton, Interior II (1964) TateRichard Hamilton, Las Meninas of Picasso (1973) TateYasumasa Morimura, Daughter of Art History (Princess A), private collectionVik Muniz, Las Meninas by Velazquez (the chocolate paintings)(2002)Jorge Oteiza, Hommage to Las Meninas (1958), Fundació Juan MarchGiulio Paolini, Contemplator Enim VI (fuori l'autore) (1991)Antonio Saura, Infanta i Saba (1962)Josep Maria Sert, Figurí per a Las Meninas (1916), Fundación Juan MarchSoledad Sevilla, Las Meninas Núm. IX (1981-1983)John Singer Sargent, The Daughters of Edward Darley Boit (1882), Museum of Fine Arts, Boston.Thomas Struth, Museo del Prado 6 (2005), private collectionFranz von Stuck, Family group (1909), Royal Museums of Fine Arts of BelgiumEve Sussman, 89 segons at the Alcázar (2004), private collectionManolo Valdés, Reina Marianna (1989), private collectionJeff Wall, Picture for Women (1979), Centre Georges PompidouJames Abbott McNeill Whistler, Whistler in his studio (1865)Joel-Peter Witkin, Las Meninas. New Mexico (1987)

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: Explain the Other versions of this artwork, Las Meninas (Picasso).

Velázquez's Las Meninas have served as inspiration not only to Picasso. The first follower of Velazquez was certainly his son-in-law Juan Bautista del Mazo, court painter to Philip IVin 1661. In the portrait of the Infanta Margarita of Spain, 1666, in the backplane, man can see the placement of Charles II and the dwarf Mari Bárbola in a scene similar to Las Meninas by Velazquez. There is a list of some works of artists who also have versioned Las Meninas throughout art history.Claudio Bravo, La vistaHerman Braun-Vega :Velázquez mis à nu accompagné des menines (1968), Museum of AntioquiaVelásquez Going to His Easel (From the series Velázquez Stripped Bare) (1968), Blanton Museum of ArtLes invités sur l'herbe d'après Vélasquez, Manet et Picasso (1970), Musée d'Art Moderne de Paris¡Caramba! (Cézanne, Goya, Ingres, Matisse, Picasso, Rembrandt, Vélasquez) (1983), private collectionIl est interdit de s’arrêter (Velazquez) (1984), private collectionHotel du Sud (Vélasquez, Ingres, Manet et Matisse) (1985), private collectionDual insight into the West (Velazquez and Picasso) (1987), private collectionLa familia Informal (Vélasquez, Goya, Picasso) (1992), Ralli Museum (Marbella)Concierto en el mercado (Vélasquez) (1997), private collectionJuan Pareja revisiting Picasso Meninas (Velazquez) (2000), private collectionLouis Cane, Meninas squatting (1982), private collectionPhilippe Comar, Las Meninas (1978), Centre Georges PompidouEquipo Crónica, El recinte (1971), private collectionSalvador Dalí, Velázquez pintant la infanta Margarida amb les llums i les ombres de la seva pròpia glòria (1958), Salvador Dalí MuseumEdgar Degas, Variation on Velázquez's Las Meninas (1857), Neue PinakothekAntonio de Felipe, In-Fanta de llimona II (1992), Iria Souto Catoira collectionLuca Giordano, Hommage to Velázquez (National Gallery of LondonAlberto Gironella, Cambra Oscura (1975), private collectionFrancisco de Goya, Las Meninas (1780–85) Biblioteca Nacional de EspañaRichard Hamilton, Interior II (1964) TateRichard Hamilton, Las Meninas of Picasso (1973) TateYasumasa Morimura, Daughter of Art History (Princess A), private collectionVik Muniz, Las Meninas by Velazquez (the chocolate paintings)(2002)Jorge Oteiza, Hommage to Las Meninas (1958), Fundació Juan MarchGiulio Paolini, Contemplator Enim VI (fuori l'autore) (1991)Antonio Saura, Infanta i Saba (1962)Josep Maria Sert, Figurí per a Las Meninas (1916), Fundación Juan MarchSoledad Sevilla, Las Meninas Núm. IX (1981-1983)John Singer Sargent, The Daughters of Edward Darley Boit (1882), Museum of Fine Arts, Boston.Thomas Struth, Museo del Prado 6 (2005), private collectionFranz von Stuck, Family group (1909), Royal Museums of Fine Arts of BelgiumEve Sussman, 89 segons at the Alcázar (2004), private collectionManolo Valdés, Reina Marianna (1989), private collectionJeff Wall, Picture for Women (1979), Centre Georges PompidouJames Abbott McNeill Whistler, Whistler in his studio (1865)Joel-Peter Witkin, Las Meninas. New Mexico (1987)

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: How does Las Meninas (Picasso) explain its Other versions?

Velázquez's Las Meninas have served as inspiration not only to Picasso. The first follower of Velazquez was certainly his son-in-law Juan Bautista del Mazo, court painter to Philip IVin 1661. In the portrait of the Infanta Margarita of Spain, 1666, in the backplane, man can see the placement of Charles II and the dwarf Mari Bárbola in a scene similar to Las Meninas by Velazquez. There is a list of some works of artists who also have versioned Las Meninas throughout art history.Claudio Bravo, La vistaHerman Braun-Vega :Velázquez mis à nu accompagné des menines (1968), Museum of AntioquiaVelásquez Going to His Easel (From the series Velázquez Stripped Bare) (1968), Blanton Museum of ArtLes invités sur l'herbe d'après Vélasquez, Manet et Picasso (1970), Musée d'Art Moderne de Paris¡Caramba! (Cézanne, Goya, Ingres, Matisse, Picasso, Rembrandt, Vélasquez) (1983), private collectionIl est interdit de s’arrêter (Velazquez) (1984), private collectionHotel du Sud (Vélasquez, Ingres, Manet et Matisse) (1985), private collectionDual insight into the West (Velazquez and Picasso) (1987), private collectionLa familia Informal (Vélasquez, Goya, Picasso) (1992), Ralli Museum (Marbella)Concierto en el mercado (Vélasquez) (1997), private collectionJuan Pareja revisiting Picasso Meninas (Velazquez) (2000), private collectionLouis Cane, Meninas squatting (1982), private collectionPhilippe Comar, Las Meninas (1978), Centre Georges PompidouEquipo Crónica, El recinte (1971), private collectionSalvador Dalí, Velázquez pintant la infanta Margarida amb les llums i les ombres de la seva pròpia glòria (1958), Salvador Dalí MuseumEdgar Degas, Variation on Velázquez's Las Meninas (1857), Neue PinakothekAntonio de Felipe, In-Fanta de llimona II (1992), Iria Souto Catoira collectionLuca Giordano, Hommage to Velázquez (National Gallery of LondonAlberto Gironella, Cambra Oscura (1975), private collectionFrancisco de Goya, Las Meninas (1780–85) Biblioteca Nacional de EspañaRichard Hamilton, Interior II (1964) TateRichard Hamilton, Las Meninas of Picasso (1973) TateYasumasa Morimura, Daughter of Art History (Princess A), private collectionVik Muniz, Las Meninas by Velazquez (the chocolate paintings)(2002)Jorge Oteiza, Hommage to Las Meninas (1958), Fundació Juan MarchGiulio Paolini, Contemplator Enim VI (fuori l'autore) (1991)Antonio Saura, Infanta i Saba (1962)Josep Maria Sert, Figurí per a Las Meninas (1916), Fundación Juan MarchSoledad Sevilla, Las Meninas Núm. IX (1981-1983)John Singer Sargent, The Daughters of Edward Darley Boit (1882), Museum of Fine Arts, Boston.Thomas Struth, Museo del Prado 6 (2005), private collectionFranz von Stuck, Family group (1909), Royal Museums of Fine Arts of BelgiumEve Sussman, 89 segons at the Alcázar (2004), private collectionManolo Valdés, Reina Marianna (1989), private collectionJeff Wall, Picture for Women (1979), Centre Georges PompidouJames Abbott McNeill Whistler, Whistler in his studio (1865)Joel-Peter Witkin, Las Meninas. New Mexico (1987)

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Las Meninas (Picasso)

Prompt: In Las Meninas (Picasso), how is the Other versions discussed?

Velázquez's Las Meninas have served as inspiration not only to Picasso. The first follower of Velazquez was certainly his son-in-law Juan Bautista del Mazo, court painter to Philip IVin 1661. In the portrait of the Infanta Margarita of Spain, 1666, in the backplane, man can see the placement of Charles II and the dwarf Mari Bárbola in a scene similar to Las Meninas by Velazquez. There is a list of some works of artists who also have versioned Las Meninas throughout art history.Claudio Bravo, La vistaHerman Braun-Vega :Velázquez mis à nu accompagné des menines (1968), Museum of AntioquiaVelásquez Going to His Easel (From the series Velázquez Stripped Bare) (1968), Blanton Museum of ArtLes invités sur l'herbe d'après Vélasquez, Manet et Picasso (1970), Musée d'Art Moderne de Paris¡Caramba! (Cézanne, Goya, Ingres, Matisse, Picasso, Rembrandt, Vélasquez) (1983), private collectionIl est interdit de s’arrêter (Velazquez) (1984), private collectionHotel du Sud (Vélasquez, Ingres, Manet et Matisse) (1985), private collectionDual insight into the West (Velazquez and Picasso) (1987), private collectionLa familia Informal (Vélasquez, Goya, Picasso) (1992), Ralli Museum (Marbella)Concierto en el mercado (Vélasquez) (1997), private collectionJuan Pareja revisiting Picasso Meninas (Velazquez) (2000), private collectionLouis Cane, Meninas squatting (1982), private collectionPhilippe Comar, Las Meninas (1978), Centre Georges PompidouEquipo Crónica, El recinte (1971), private collectionSalvador Dalí, Velázquez pintant la infanta Margarida amb les llums i les ombres de la seva pròpia glòria (1958), Salvador Dalí MuseumEdgar Degas, Variation on Velázquez's Las Meninas (1857), Neue PinakothekAntonio de Felipe, In-Fanta de llimona II (1992), Iria Souto Catoira collectionLuca Giordano, Hommage to Velázquez (National Gallery of LondonAlberto Gironella, Cambra Oscura (1975), private collectionFrancisco de Goya, Las Meninas (1780–85) Biblioteca Nacional de EspañaRichard Hamilton, Interior II (1964) TateRichard Hamilton, Las Meninas of Picasso (1973) TateYasumasa Morimura, Daughter of Art History (Princess A), private collectionVik Muniz, Las Meninas by Velazquez (the chocolate paintings)(2002)Jorge Oteiza, Hommage to Las Meninas (1958), Fundació Juan MarchGiulio Paolini, Contemplator Enim VI (fuori l'autore) (1991)Antonio Saura, Infanta i Saba (1962)Josep Maria Sert, Figurí per a Las Meninas (1916), Fundación Juan MarchSoledad Sevilla, Las Meninas Núm. IX (1981-1983)John Singer Sargent, The Daughters of Edward Darley Boit (1882), Museum of Fine Arts, Boston.Thomas Struth, Museo del Prado 6 (2005), private collectionFranz von Stuck, Family group (1909), Royal Museums of Fine Arts of BelgiumEve Sussman, 89 segons at the Alcázar (2004), private collectionManolo Valdés, Reina Marianna (1989), private collectionJeff Wall, Picture for Women (1979), Centre Georges PompidouJames Abbott McNeill Whistler, Whistler in his studio (1865)Joel-Peter Witkin, Las Meninas. New Mexico (1987)

Museo Nacional Centro de Arte Reina Sofía

File:James Abbott McNeill Whistler - Whistler in his studio.jpg

''Whistler in his studio'' by [[James Abbott McNeill Whistler

File:John Singer Sargent - The Daughters of Edward Darley Boit 1882.jpg

''Picasso: Challenging the past'' exhibit in London

''The Daughters of Edward Darley Boit'' by [[John Singer Sargent


Allegory of Marriage

Prompt: Focus on Allegory of Marriage and explain the abstract.

The Allegory of Marriage (French: Allégorie Conjugale), also titled the Allegory of Separation (Allégorie de la séparation), and formerly known as the Allegory of Alfonso d'Avalos (Allégorie d'Alphonse d'Avalos), is an oil painting by Titian, made about 1530 to 1535, in the collection of the Louvre. There are several fairly early copies, done after Titian, including two in the Royal Collection.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Explain the abstract of this artwork, Allegory of Marriage.

The Allegory of Marriage (French: Allégorie Conjugale), also titled the Allegory of Separation (Allégorie de la séparation), and formerly known as the Allegory of Alfonso d'Avalos (Allégorie d'Alphonse d'Avalos), is an oil painting by Titian, made about 1530 to 1535, in the collection of the Louvre. There are several fairly early copies, done after Titian, including two in the Royal Collection.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: How does Allegory of Marriage explain its abstract?

The Allegory of Marriage (French: Allégorie Conjugale), also titled the Allegory of Separation (Allégorie de la séparation), and formerly known as the Allegory of Alfonso d'Avalos (Allégorie d'Alphonse d'Avalos), is an oil painting by Titian, made about 1530 to 1535, in the collection of the Louvre. There are several fairly early copies, done after Titian, including two in the Royal Collection.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: In Allegory of Marriage, how is the abstract discussed?

The Allegory of Marriage (French: Allégorie Conjugale), also titled the Allegory of Separation (Allégorie de la séparation), and formerly known as the Allegory of Alfonso d'Avalos (Allégorie d'Alphonse d'Avalos), is an oil painting by Titian, made about 1530 to 1535, in the collection of the Louvre. There are several fairly early copies, done after Titian, including two in the Royal Collection.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Focus on Allegory of Marriage and explain the Description.

A well-dressed lady and a gentleman in armor appear on the left of the painting.  They, especially the lady, are attended by a young woman and some children.  The light colours of the lady's dress, a combination of red, green and yellow, enclose her shapely form; beside this mass of strong light the figure of the gentleman in his polished metal breastplate and spaulder stands out dark; turning to the lady, but gazing out of the picture, he lays his hand on her breast. With them are associated some allegorical figures—a child who represents the God of Love carrying his bow and arrows; a woman with a wreath round her hair, who lays a hand on her breast with a deprecating gesture; and farther to the back, seen strongly foreshortened, the head of a youth, who is holding up a basket laden with flowers. While brightness pervades the foreground, calls out broad lights on the crystal ball and the spaulder, this last figure remains in a rich half-shadow, the head broadly set against a deep blue sky.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Explain the Description of this artwork, Allegory of Marriage.

A well-dressed lady and a gentleman in armor appear on the left of the painting.  They, especially the lady, are attended by a young woman and some children.  The light colours of the lady's dress, a combination of red, green and yellow, enclose her shapely form; beside this mass of strong light the figure of the gentleman in his polished metal breastplate and spaulder stands out dark; turning to the lady, but gazing out of the picture, he lays his hand on her breast. With them are associated some allegorical figures—a child who represents the God of Love carrying his bow and arrows; a woman with a wreath round her hair, who lays a hand on her breast with a deprecating gesture; and farther to the back, seen strongly foreshortened, the head of a youth, who is holding up a basket laden with flowers. While brightness pervades the foreground, calls out broad lights on the crystal ball and the spaulder, this last figure remains in a rich half-shadow, the head broadly set against a deep blue sky.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: How does Allegory of Marriage explain its Description?

A well-dressed lady and a gentleman in armor appear on the left of the painting.  They, especially the lady, are attended by a young woman and some children.  The light colours of the lady's dress, a combination of red, green and yellow, enclose her shapely form; beside this mass of strong light the figure of the gentleman in his polished metal breastplate and spaulder stands out dark; turning to the lady, but gazing out of the picture, he lays his hand on her breast. With them are associated some allegorical figures—a child who represents the God of Love carrying his bow and arrows; a woman with a wreath round her hair, who lays a hand on her breast with a deprecating gesture; and farther to the back, seen strongly foreshortened, the head of a youth, who is holding up a basket laden with flowers. While brightness pervades the foreground, calls out broad lights on the crystal ball and the spaulder, this last figure remains in a rich half-shadow, the head broadly set against a deep blue sky.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: In Allegory of Marriage, how is the Description discussed?

A well-dressed lady and a gentleman in armor appear on the left of the painting.  They, especially the lady, are attended by a young woman and some children.  The light colours of the lady's dress, a combination of red, green and yellow, enclose her shapely form; beside this mass of strong light the figure of the gentleman in his polished metal breastplate and spaulder stands out dark; turning to the lady, but gazing out of the picture, he lays his hand on her breast. With them are associated some allegorical figures—a child who represents the God of Love carrying his bow and arrows; a woman with a wreath round her hair, who lays a hand on her breast with a deprecating gesture; and farther to the back, seen strongly foreshortened, the head of a youth, who is holding up a basket laden with flowers. While brightness pervades the foreground, calls out broad lights on the crystal ball and the spaulder, this last figure remains in a rich half-shadow, the head broadly set against a deep blue sky.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Focus on Allegory of Marriage and explain the Analysis.

Georg Gronau fancies the Saint Catherine of the London Madonna is the same female figure which is the central object of this picture. He notes the same "roundness of form", the same profile, and the same "golden hair with its rich plaits entwined with strings of pearls". He also mentions the Girl in a Fur as a point of comparison. The group was once supposed to represent the parting of Alfonso d'Avalos, Marquis of Vasto, from his young wife, Mary of Aragon, when he was about to set out for war against the Turks. Amor himself, the Goddess of Victory, and Hymen console the grieving lady, who gazes meditatively into a crystal ball she holds in her hand, the symbol of the transient nature of all things human. Relations between this nephew and heir of the Marquis of Pescara and Titian are known to have existed. On 2 November 1531, he wrote to Aretino: "We want to have Titian here, in Correggio; and if you can do anything to further his coming, I shall be very glad." But whether this letter is connected with the picture is rather doubtful, in Gronau's view, as the features of the man in armour of the Allegory are not those of the Marquis del Vasto.Charles Ricketts imagines that the woman who holds a crystal may represent Wisdom or Prudence, and the attendant figures with flowers and wreaths and darts may be the pleasures upon which the armoured warrior turns his back. "Some trite allegory", he writes, "is more likely to be at the root of this 'poesie' than the theory advanced by Crowe and Cavalcaselle that the crystal-gazer is a pensive wife."

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Explain the Analysis of this artwork, Allegory of Marriage.

Georg Gronau fancies the Saint Catherine of the London Madonna is the same female figure which is the central object of this picture. He notes the same "roundness of form", the same profile, and the same "golden hair with its rich plaits entwined with strings of pearls". He also mentions the Girl in a Fur as a point of comparison. The group was once supposed to represent the parting of Alfonso d'Avalos, Marquis of Vasto, from his young wife, Mary of Aragon, when he was about to set out for war against the Turks. Amor himself, the Goddess of Victory, and Hymen console the grieving lady, who gazes meditatively into a crystal ball she holds in her hand, the symbol of the transient nature of all things human. Relations between this nephew and heir of the Marquis of Pescara and Titian are known to have existed. On 2 November 1531, he wrote to Aretino: "We want to have Titian here, in Correggio; and if you can do anything to further his coming, I shall be very glad." But whether this letter is connected with the picture is rather doubtful, in Gronau's view, as the features of the man in armour of the Allegory are not those of the Marquis del Vasto.Charles Ricketts imagines that the woman who holds a crystal may represent Wisdom or Prudence, and the attendant figures with flowers and wreaths and darts may be the pleasures upon which the armoured warrior turns his back. "Some trite allegory", he writes, "is more likely to be at the root of this 'poesie' than the theory advanced by Crowe and Cavalcaselle that the crystal-gazer is a pensive wife."

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: How does Allegory of Marriage explain its Analysis?

Georg Gronau fancies the Saint Catherine of the London Madonna is the same female figure which is the central object of this picture. He notes the same "roundness of form", the same profile, and the same "golden hair with its rich plaits entwined with strings of pearls". He also mentions the Girl in a Fur as a point of comparison. The group was once supposed to represent the parting of Alfonso d'Avalos, Marquis of Vasto, from his young wife, Mary of Aragon, when he was about to set out for war against the Turks. Amor himself, the Goddess of Victory, and Hymen console the grieving lady, who gazes meditatively into a crystal ball she holds in her hand, the symbol of the transient nature of all things human. Relations between this nephew and heir of the Marquis of Pescara and Titian are known to have existed. On 2 November 1531, he wrote to Aretino: "We want to have Titian here, in Correggio; and if you can do anything to further his coming, I shall be very glad." But whether this letter is connected with the picture is rather doubtful, in Gronau's view, as the features of the man in armour of the Allegory are not those of the Marquis del Vasto.Charles Ricketts imagines that the woman who holds a crystal may represent Wisdom or Prudence, and the attendant figures with flowers and wreaths and darts may be the pleasures upon which the armoured warrior turns his back. "Some trite allegory", he writes, "is more likely to be at the root of this 'poesie' than the theory advanced by Crowe and Cavalcaselle that the crystal-gazer is a pensive wife."

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: In Allegory of Marriage, how is the Analysis discussed?

Georg Gronau fancies the Saint Catherine of the London Madonna is the same female figure which is the central object of this picture. He notes the same "roundness of form", the same profile, and the same "golden hair with its rich plaits entwined with strings of pearls". He also mentions the Girl in a Fur as a point of comparison. The group was once supposed to represent the parting of Alfonso d'Avalos, Marquis of Vasto, from his young wife, Mary of Aragon, when he was about to set out for war against the Turks. Amor himself, the Goddess of Victory, and Hymen console the grieving lady, who gazes meditatively into a crystal ball she holds in her hand, the symbol of the transient nature of all things human. Relations between this nephew and heir of the Marquis of Pescara and Titian are known to have existed. On 2 November 1531, he wrote to Aretino: "We want to have Titian here, in Correggio; and if you can do anything to further his coming, I shall be very glad." But whether this letter is connected with the picture is rather doubtful, in Gronau's view, as the features of the man in armour of the Allegory are not those of the Marquis del Vasto.Charles Ricketts imagines that the woman who holds a crystal may represent Wisdom or Prudence, and the attendant figures with flowers and wreaths and darts may be the pleasures upon which the armoured warrior turns his back. "Some trite allegory", he writes, "is more likely to be at the root of this 'poesie' than the theory advanced by Crowe and Cavalcaselle that the crystal-gazer is a pensive wife."

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Focus on Allegory of Marriage and explain the Date.

About the traditional name there is certainly some mistake, but the subject remains obscure. It was probably painted about 1530 to 1535, at the same period as the Madonna of the Rabbit, the Madonna with Saint Catherine (Aldobrandini Madonna) in London, and the Presentation of the Virgin.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Explain the Date of this artwork, Allegory of Marriage.

About the traditional name there is certainly some mistake, but the subject remains obscure. It was probably painted about 1530 to 1535, at the same period as the Madonna of the Rabbit, the Madonna with Saint Catherine (Aldobrandini Madonna) in London, and the Presentation of the Virgin.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: How does Allegory of Marriage explain its Date?

About the traditional name there is certainly some mistake, but the subject remains obscure. It was probably painted about 1530 to 1535, at the same period as the Madonna of the Rabbit, the Madonna with Saint Catherine (Aldobrandini Madonna) in London, and the Presentation of the Virgin.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: In Allegory of Marriage, how is the Date discussed?

About the traditional name there is certainly some mistake, but the subject remains obscure. It was probably painted about 1530 to 1535, at the same period as the Madonna of the Rabbit, the Madonna with Saint Catherine (Aldobrandini Madonna) in London, and the Presentation of the Virgin.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Focus on Allegory of Marriage and explain the Provenance.

The picture was in the collection of Charles I of England at Whitehall, having been acquired at a public sale in Spain, and was copied by Peter Oliver in 1629 and listed in an inventory of 1639. It was sold in London in 1650, without attribution, as The family of ye Marquess of Guasto. It was owned by Colonel J. Hutchinson of London and Everhard Jabach of Paris, engraved around 1660, and cited in 1661. It was acquired from Jabach by Louis XIV of France in 1662, and is mentioned in an inventory of 1683 (no. 54). The various replicas in existence, differing as to detail, show that this composition must have been famous. Two early copies in the British Royal Collection may have been painted for Charles I directly from the Titian by Michael Cross (Miguel de la Cruz), a copyist employed by the King in Spain. Another version is held by the

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Explain the Provenance of this artwork, Allegory of Marriage.

The picture was in the collection of Charles I of England at Whitehall, having been acquired at a public sale in Spain, and was copied by Peter Oliver in 1629 and listed in an inventory of 1639. It was sold in London in 1650, without attribution, as The family of ye Marquess of Guasto. It was owned by Colonel J. Hutchinson of London and Everhard Jabach of Paris, engraved around 1660, and cited in 1661. It was acquired from Jabach by Louis XIV of France in 1662, and is mentioned in an inventory of 1683 (no. 54). The various replicas in existence, differing as to detail, show that this composition must have been famous. Two early copies in the British Royal Collection may have been painted for Charles I directly from the Titian by Michael Cross (Miguel de la Cruz), a copyist employed by the King in Spain. Another version is held by the

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: How does Allegory of Marriage explain its Provenance?

The picture was in the collection of Charles I of England at Whitehall, having been acquired at a public sale in Spain, and was copied by Peter Oliver in 1629 and listed in an inventory of 1639. It was sold in London in 1650, without attribution, as The family of ye Marquess of Guasto. It was owned by Colonel J. Hutchinson of London and Everhard Jabach of Paris, engraved around 1660, and cited in 1661. It was acquired from Jabach by Louis XIV of France in 1662, and is mentioned in an inventory of 1683 (no. 54). The various replicas in existence, differing as to detail, show that this composition must have been famous. Two early copies in the British Royal Collection may have been painted for Charles I directly from the Titian by Michael Cross (Miguel de la Cruz), a copyist employed by the King in Spain. Another version is held by the

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: In Allegory of Marriage, how is the Provenance discussed?

The picture was in the collection of Charles I of England at Whitehall, having been acquired at a public sale in Spain, and was copied by Peter Oliver in 1629 and listed in an inventory of 1639. It was sold in London in 1650, without attribution, as The family of ye Marquess of Guasto. It was owned by Colonel J. Hutchinson of London and Everhard Jabach of Paris, engraved around 1660, and cited in 1661. It was acquired from Jabach by Louis XIV of France in 1662, and is mentioned in an inventory of 1683 (no. 54). The various replicas in existence, differing as to detail, show that this composition must have been famous. Two early copies in the British Royal Collection may have been painted for Charles I directly from the Titian by Michael Cross (Miguel de la Cruz), a copyist employed by the King in Spain. Another version is held by the

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Focus on Allegory of Marriage and explain the Influence.

It has been suggested that the general composition of The Beloved, a painting of 1865-66 by the English Pre-Raphaelite painter Dante Gabriel Rossetti (1828–1882), now in Tate Britain, was influenced by the Titian. The Rossetti shows a group of six figures in a similar circular arrangement.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Explain the Influence of this artwork, Allegory of Marriage.

It has been suggested that the general composition of The Beloved, a painting of 1865-66 by the English Pre-Raphaelite painter Dante Gabriel Rossetti (1828–1882), now in Tate Britain, was influenced by the Titian. The Rossetti shows a group of six figures in a similar circular arrangement.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: How does Allegory of Marriage explain its Influence?

It has been suggested that the general composition of The Beloved, a painting of 1865-66 by the English Pre-Raphaelite painter Dante Gabriel Rossetti (1828–1882), now in Tate Britain, was influenced by the Titian. The Rossetti shows a group of six figures in a similar circular arrangement.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: In Allegory of Marriage, how is the Influence discussed?

It has been suggested that the general composition of The Beloved, a painting of 1865-66 by the English Pre-Raphaelite painter Dante Gabriel Rossetti (1828–1882), now in Tate Britain, was influenced by the Titian. The Rossetti shows a group of six figures in a similar circular arrangement.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Focus on Allegory of Marriage and explain the Conservation.

According to Ricketts, the Allegory in the Louvre was by 1910 in a "shocking state of partial damage by abrading and retouching, and by centuries of dirt". The two ladies, as is often the case with popular pictures, have in his view been "terribly retouched", and some damage has happened to the exposed bosom of the woman who holds the crystal, some abrasure of the pigment, due possibly to the removal of an added drapery which at one time may have covered it.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: Explain the Conservation of this artwork, Allegory of Marriage.

According to Ricketts, the Allegory in the Louvre was by 1910 in a "shocking state of partial damage by abrading and retouching, and by centuries of dirt". The two ladies, as is often the case with popular pictures, have in his view been "terribly retouched", and some damage has happened to the exposed bosom of the woman who holds the crystal, some abrasure of the pigment, due possibly to the removal of an added drapery which at one time may have covered it.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: How does Allegory of Marriage explain its Conservation?

According to Ricketts, the Allegory in the Louvre was by 1910 in a "shocking state of partial damage by abrading and retouching, and by centuries of dirt". The two ladies, as is often the case with popular pictures, have in his view been "terribly retouched", and some damage has happened to the exposed bosom of the woman who holds the crystal, some abrasure of the pigment, due possibly to the removal of an added drapery which at one time may have covered it.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings


Allegory of Marriage

Prompt: In Allegory of Marriage, how is the Conservation discussed?

According to Ricketts, the Allegory in the Louvre was by 1910 in a "shocking state of partial damage by abrading and retouching, and by centuries of dirt". The two ladies, as is often the case with popular pictures, have in his view been "terribly retouched", and some damage has happened to the exposed bosom of the woman who holds the crystal, some abrasure of the pigment, due possibly to the removal of an added drapery which at one time may have covered it.

Category:Paintings in the Louvre by Italian artists

File:0000135227 OG (cropped1) (cropped).jpg

Ricketts sees "some exquisite painting" in the Cupid.<ref>Ricketts 1910, pp. 87–88.</ref>

File:Tiziano, allegoria coniugale, 1530 ca..JPG

Category:Allegorical paintings by Titian

symbol of the transient nature of all things human

File:Titian - Madonna and Child with Saints (detail) - WGA22792.jpg

Gronau thinks St. Catherine in this [[Aldobrandini Madonna (Titian)

The Presentation of the Virgin at the Temple (Titian)

The painting on display in the ''Louvre'' in its current frame.

Conservation and restoration of paintings