Spirit of the Dead Watching

Prompt: In the context of Spirit of the Dead Watching, explain the Griselda Pollock's Avant-Garde Gambits and the Relation to Édouard Manet's Olympia.

In the 1992 Walter Neurath Memorial Lecture, published as Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History, the feminist art historian Griselda Pollock examines the problems faced by a white art historian in writing an art history that recognises the historical subjectivity of a woman of colour such as Teha'amana, known otherwise to art history only by her representations within the discourses of masculinity and colonial imperialism.She attempts this by concentrating on a detailed reading of a single painting, the Spirit of the Dead Watching, advancing a new theory of avant-gardism as a kind of game-play involving first reference, then deference, and finally difference. In this case the object of reference is Manet's Olympia, the deference was to Manet as leader of the avant-garde treatment of the nude, and the difference (amongst other matters) was the colour of the subject and the role of the second figure in the painting, the whole a gambit by which Gauguin hoped to usurp Manet's place in the avant-garde.Pollock notes a structural correspondence between the two paintings. In Spirit of the Dead Watching, a viewer for the scene is invoked by Teha'amana's gaze on the bed, a viewer for whom Gauguin has to invent a narrative, while in Olympia the implied narrative is that of prostitution, as critics of the time such as Emile Zola clearly recognised.In Gauguin's final version of his narrative, as published in Noa Noa, he makes the second subject of his painting, the spectre, a surrogate spectator within the painting, and then (with Teha'aman's gaze) relocates and displaces Teha'amana's fear and paranoia on him, the intruder. Thus, by formal reference to Manet's Olympia, Gaughin has reintroduced himself, taking his place in the avant-garde as artist, as owner, and as colonist.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: Explain the Griselda Pollock's Avant-Garde Gambits about the Relation to Édouard Manet's Olympia of this artwork, Spirit of the Dead Watching.

In the 1992 Walter Neurath Memorial Lecture, published as Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History, the feminist art historian Griselda Pollock examines the problems faced by a white art historian in writing an art history that recognises the historical subjectivity of a woman of colour such as Teha'amana, known otherwise to art history only by her representations within the discourses of masculinity and colonial imperialism.She attempts this by concentrating on a detailed reading of a single painting, the Spirit of the Dead Watching, advancing a new theory of avant-gardism as a kind of game-play involving first reference, then deference, and finally difference. In this case the object of reference is Manet's Olympia, the deference was to Manet as leader of the avant-garde treatment of the nude, and the difference (amongst other matters) was the colour of the subject and the role of the second figure in the painting, the whole a gambit by which Gauguin hoped to usurp Manet's place in the avant-garde.Pollock notes a structural correspondence between the two paintings. In Spirit of the Dead Watching, a viewer for the scene is invoked by Teha'amana's gaze on the bed, a viewer for whom Gauguin has to invent a narrative, while in Olympia the implied narrative is that of prostitution, as critics of the time such as Emile Zola clearly recognised.In Gauguin's final version of his narrative, as published in Noa Noa, he makes the second subject of his painting, the spectre, a surrogate spectator within the painting, and then (with Teha'aman's gaze) relocates and displaces Teha'amana's fear and paranoia on him, the intruder. Thus, by formal reference to Manet's Olympia, Gaughin has reintroduced himself, taking his place in the avant-garde as artist, as owner, and as colonist.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: In Spirit of the Dead Watching, how is the Griselda Pollock's Avant-Garde Gambits of the Relation to Édouard Manet's Olympia explained?

In the 1992 Walter Neurath Memorial Lecture, published as Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History, the feminist art historian Griselda Pollock examines the problems faced by a white art historian in writing an art history that recognises the historical subjectivity of a woman of colour such as Teha'amana, known otherwise to art history only by her representations within the discourses of masculinity and colonial imperialism.She attempts this by concentrating on a detailed reading of a single painting, the Spirit of the Dead Watching, advancing a new theory of avant-gardism as a kind of game-play involving first reference, then deference, and finally difference. In this case the object of reference is Manet's Olympia, the deference was to Manet as leader of the avant-garde treatment of the nude, and the difference (amongst other matters) was the colour of the subject and the role of the second figure in the painting, the whole a gambit by which Gauguin hoped to usurp Manet's place in the avant-garde.Pollock notes a structural correspondence between the two paintings. In Spirit of the Dead Watching, a viewer for the scene is invoked by Teha'amana's gaze on the bed, a viewer for whom Gauguin has to invent a narrative, while in Olympia the implied narrative is that of prostitution, as critics of the time such as Emile Zola clearly recognised.In Gauguin's final version of his narrative, as published in Noa Noa, he makes the second subject of his painting, the spectre, a surrogate spectator within the painting, and then (with Teha'aman's gaze) relocates and displaces Teha'amana's fear and paranoia on him, the intruder. Thus, by formal reference to Manet's Olympia, Gaughin has reintroduced himself, taking his place in the avant-garde as artist, as owner, and as colonist.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: Describe the characteristics of the Griselda Pollock's Avant-Garde Gambits in Spirit of the Dead Watching's Relation to Édouard Manet's Olympia.

In the 1992 Walter Neurath Memorial Lecture, published as Avant-Garde Gambits 1888-1893: Gender and the Colour of Art History, the feminist art historian Griselda Pollock examines the problems faced by a white art historian in writing an art history that recognises the historical subjectivity of a woman of colour such as Teha'amana, known otherwise to art history only by her representations within the discourses of masculinity and colonial imperialism.She attempts this by concentrating on a detailed reading of a single painting, the Spirit of the Dead Watching, advancing a new theory of avant-gardism as a kind of game-play involving first reference, then deference, and finally difference. In this case the object of reference is Manet's Olympia, the deference was to Manet as leader of the avant-garde treatment of the nude, and the difference (amongst other matters) was the colour of the subject and the role of the second figure in the painting, the whole a gambit by which Gauguin hoped to usurp Manet's place in the avant-garde.Pollock notes a structural correspondence between the two paintings. In Spirit of the Dead Watching, a viewer for the scene is invoked by Teha'amana's gaze on the bed, a viewer for whom Gauguin has to invent a narrative, while in Olympia the implied narrative is that of prostitution, as critics of the time such as Emile Zola clearly recognised.In Gauguin's final version of his narrative, as published in Noa Noa, he makes the second subject of his painting, the spectre, a surrogate spectator within the painting, and then (with Teha'aman's gaze) relocates and displaces Teha'amana's fear and paranoia on him, the intruder. Thus, by formal reference to Manet's Olympia, Gaughin has reintroduced himself, taking his place in the avant-garde as artist, as owner, and as colonist.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: Focus on Spirit of the Dead Watching and explain the Commentary by Gauguin.

There are five sources for Gauguin's description of the painting: a letter to his patron Daniel Monfreid dated 8 December 1892, another letter to his wife Mette the same day, his 1893 manuscript Cahier pour Aline ("Notebook for Aline"), the first unpublished 1893-4 draft of Noa Noa and then finally the published 1901 version prepared together with his collaborator  Charles Morice. Richard Field has provided a critical analysis of these sources.Letter to Daniel MonfreidIn an 8 December 1892 letter to Daniel Monfreid, Gauguin gives the titles of eight paintings he is sending out for exhibition in Copenhagen. He translates the title Manao tupapau as "Think of the Ghost, or, The Spirits of the Dead are Watching"  and goes on to say that he wants to reserve it for a later sale, but will sell for 2,000 francs. He describes the painting as follows (without explaining the subject is a nude):This picture is for me (excellent). Here is the genesis (for you only). General Harmony. Dark dull violet, dark blue and chrome. 1. The draperies are chrome 2. because this colour suggests night, without explaining it however, and furthermore serves as a happy medium between the yellow orange and the green, completing the harmony. These flowers are also like phosphorescences in the night (in her thoughts). The Kanakas believe that the phosphorous lights seen at night are the souls of the dead.In short, it is a fine bit of painting, although it is not according to nature.Paintings from Gauguin's first Tahitian period selected for his Copenhagen exhibitionLetter to Mette GauguinIn an 8 December 1892 letter to his wife, Gauguin gives translations of the Tahitian titles of the paintings he intends to send. He stresses this is for Mette's eyes only, so that she can provide them for those who ask for them. He fixes a price of at least 1,500 francs for the painting, and goes on to describe it as follows:I painted a nude of a young girl. In this position she is on the verge of being indecent. But I want it that way: the lines and movement are interesting to me. And so, I give her, in depicting the head, a bit of a fright. It is necessary to justify this fright if not to explain it because it is in the character of a Maori person. Traditionally these people have a great fear of the spirits of the dead. One of our own young girls [in Europe] would be frightened to be caught in this position. (The women here would not.) I have to explain this fright with the least possible literary means as was done formerly. So I did this. General harmony, somber, sad, frightening, telling in the eye like a funeral knell. Violet, somber blue, and orange-yellow. I make the linen greenish-yellow: 1 because the linen of this savage is a different linen than ours (beaten tree bark); 2 because it creates, suggests artificial light (the Kanaka woman never sleeps in darkness) and yet I don't want the effect of a lamp (it is common); 3 this yellow linking the orange-yellow and the blue completes the musical harmony. There are several flowers in the background, but they should not be real, being imaginative, I make them resemble sparks. For the Kanaka, the phosphorescences of the night are from the spirit of the dead, they believe they are there and fear them. Finally, to end, I make the ghost quite simply, a little old woman; because the young girl, unacquainted with the spirits of the French stage, could not visualise death except in the form of a person like herself. There you have the script that will prepare you for the critics when they bombard you with their malicious questions. To conclude, the painting had to be made very simple, the motif being savage, childlike  According to Gauguin, the phosphorescences that could be seen in Tahiti at night, and which natives believed to be the exhalations of the spirits of the dead, were emitted by mushrooms that grew on trees. The description of the spirit of the dead that the artist would have been familiar with came from the work of Pierre Loti, who described the spirit as a "blue-faced monster with sharp fangs"; the decision to paint an old woman instead of a bizarre demon may have been prompted by the desire to use a symbol that would be more familiar to a European audience.Cahier pour AlineGauguin began this notebook in 1893 for his eldest daughter Aline, then sixteen years old, during his first visit to Tahiti. Unfortunately she died in 1897 from pneumonia before she could receive it. The notebook includes a description of the painting, under the title Genèse d'un tableau ("Genesis of a picture"), accompanied by a watercolor sketch. It is here that Gauguin remarked the title Manao tupapau can be understood in two ways:In this rather daring position, quite naked on a bed, what might a young Kanaka girl be doing? Preparing for love? This is indeed in her character, but it is indecent and I do not want that. Sleeping, after the act of love? But that is still indecent. The only possible thing is fear. What kind of fear? Certainly not the fear of Susannah surprised by the Elders. That does not happen in Oceania. The tupapau is just the thing... According to Tahitian beliefs, the title Manao tupapau has a double meaning... either she thinks of the ghost or the ghost thinks of her. To recapitulate: Musical part - undulating horizontal lines - harmonies in orange and blue linked by yellows and violets, from which they derive. The light and the greenish sparks. Literary part - the spirit of a living girl linked with the spirit of Death. Night and Day. This genèse is written  for those who always have to know the whys and wherefores. Otherwise the picture is simply a study of a Polynesian nude.Noa NoaNoa Noa was originally conceived as a travelogue to accompany Gauguin's 1893 Durand-Ruel exhibition. Gauguin wrote the first rough draft (now in the Getty Center) in 1893 but could not complete it in time. He subsequently entered into a collaboration with the Symbolist poet Charles Morice to produce a more elaborate and imaginative work. The manuscript for this, prepared between 1893 and 1897, is now in the Louvre. Extracts, including those dealing with the painting, were published in 1897 in the La Revue Blanche, while the whole work was finally published at Morice's expense, Gauguin having essentially lost interest, in 1901 in the La Plume edition.In the draft account, Gauguin describes coming home late to find Teha'amana lying on her bed in the dark. This was to be followed by a description of the painting he never inserted. Finally he records Teha'amana chiding Gauguin for leaving her in the dark:One day I had to go to Papeete. I had promised to come back that same evening. On the way back the carriage broke down half way: I had to do the rest on foot. It was one in the morning when I got home. Having at that moment very little oil in the house - my stock was to be replenished - the lamp had gone out, and the room was in darkness when I went in. I felt afraid and, more still, mistrustful. Surely the bird has flown. I struck matches and saw on the bed (Description of the picture Tupapau)  The poor child came to herself again and I did all I could to restore her confidence. 'Never leave me alone again like this without light! What have you been doing in town? - you've been to see women, the kind who go to the market to drink and dance, then give themselves to the officers, to the sailors, to everybody?'Gauguin's account is considerably extended in the final published version. Critics agree that Morice was responsible for the expansion, albeit with the full support of Gauguin. The description of the painting, previously omitted, now commences:Tehura lay motionless, naked, belly down on the bed: she stared up at me, her eyes wide with fear, and she seemed not to know who I was. For a moment I too felt a strange uncertainty. Tehura's dread was contagious: it seemed to me that a phosphorescent light poured from her staring eyes. I had never seen her so lovely; above all I had never seen her beauty so moving. And in the half-shadow, which no doubt seethed with dangerous apparitions and ambiguous shapes, I feared to make the slightest move in case the child should be terrified out of her mind. Did I know what she thought I was, in that instant? Perhaps she took me, with my anguished face, for one of those legendary demons or specters, the Tupapaus that filled the sleepless nights of her people.This final version continues, as in the draft, with the quarrel over using prostitutes in town, and then concludes with a new remark:I would not quarrel with her, and the night was soft, soft and ardent, a night of the tropics. ...where Morice invokes what Pollock characterizes as an imaginary Utopia whose material foundation nevertheless lay in concrete social spaces, redefined by colonialism.Wadley comments, as essentially does Frèches-Thory, that the painting is an example of the fusion of reality and fiction in Gauguin's mature work. The two accounts of Tehura's reaction, that she was haunted by the tupapau, and that she was angrily suspicious Gauguin had been using prostitutes, likewise pose a similar confrontation between fiction and probable fact.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: Explain the Commentary by Gauguin of this artwork, Spirit of the Dead Watching.

There are five sources for Gauguin's description of the painting: a letter to his patron Daniel Monfreid dated 8 December 1892, another letter to his wife Mette the same day, his 1893 manuscript Cahier pour Aline ("Notebook for Aline"), the first unpublished 1893-4 draft of Noa Noa and then finally the published 1901 version prepared together with his collaborator  Charles Morice. Richard Field has provided a critical analysis of these sources.Letter to Daniel MonfreidIn an 8 December 1892 letter to Daniel Monfreid, Gauguin gives the titles of eight paintings he is sending out for exhibition in Copenhagen. He translates the title Manao tupapau as "Think of the Ghost, or, The Spirits of the Dead are Watching"  and goes on to say that he wants to reserve it for a later sale, but will sell for 2,000 francs. He describes the painting as follows (without explaining the subject is a nude):This picture is for me (excellent). Here is the genesis (for you only). General Harmony. Dark dull violet, dark blue and chrome. 1. The draperies are chrome 2. because this colour suggests night, without explaining it however, and furthermore serves as a happy medium between the yellow orange and the green, completing the harmony. These flowers are also like phosphorescences in the night (in her thoughts). The Kanakas believe that the phosphorous lights seen at night are the souls of the dead.In short, it is a fine bit of painting, although it is not according to nature.Paintings from Gauguin's first Tahitian period selected for his Copenhagen exhibitionLetter to Mette GauguinIn an 8 December 1892 letter to his wife, Gauguin gives translations of the Tahitian titles of the paintings he intends to send. He stresses this is for Mette's eyes only, so that she can provide them for those who ask for them. He fixes a price of at least 1,500 francs for the painting, and goes on to describe it as follows:I painted a nude of a young girl. In this position she is on the verge of being indecent. But I want it that way: the lines and movement are interesting to me. And so, I give her, in depicting the head, a bit of a fright. It is necessary to justify this fright if not to explain it because it is in the character of a Maori person. Traditionally these people have a great fear of the spirits of the dead. One of our own young girls [in Europe] would be frightened to be caught in this position. (The women here would not.) I have to explain this fright with the least possible literary means as was done formerly. So I did this. General harmony, somber, sad, frightening, telling in the eye like a funeral knell. Violet, somber blue, and orange-yellow. I make the linen greenish-yellow: 1 because the linen of this savage is a different linen than ours (beaten tree bark); 2 because it creates, suggests artificial light (the Kanaka woman never sleeps in darkness) and yet I don't want the effect of a lamp (it is common); 3 this yellow linking the orange-yellow and the blue completes the musical harmony. There are several flowers in the background, but they should not be real, being imaginative, I make them resemble sparks. For the Kanaka, the phosphorescences of the night are from the spirit of the dead, they believe they are there and fear them. Finally, to end, I make the ghost quite simply, a little old woman; because the young girl, unacquainted with the spirits of the French stage, could not visualise death except in the form of a person like herself. There you have the script that will prepare you for the critics when they bombard you with their malicious questions. To conclude, the painting had to be made very simple, the motif being savage, childlike  According to Gauguin, the phosphorescences that could be seen in Tahiti at night, and which natives believed to be the exhalations of the spirits of the dead, were emitted by mushrooms that grew on trees. The description of the spirit of the dead that the artist would have been familiar with came from the work of Pierre Loti, who described the spirit as a "blue-faced monster with sharp fangs"; the decision to paint an old woman instead of a bizarre demon may have been prompted by the desire to use a symbol that would be more familiar to a European audience.Cahier pour AlineGauguin began this notebook in 1893 for his eldest daughter Aline, then sixteen years old, during his first visit to Tahiti. Unfortunately she died in 1897 from pneumonia before she could receive it. The notebook includes a description of the painting, under the title Genèse d'un tableau ("Genesis of a picture"), accompanied by a watercolor sketch. It is here that Gauguin remarked the title Manao tupapau can be understood in two ways:In this rather daring position, quite naked on a bed, what might a young Kanaka girl be doing? Preparing for love? This is indeed in her character, but it is indecent and I do not want that. Sleeping, after the act of love? But that is still indecent. The only possible thing is fear. What kind of fear? Certainly not the fear of Susannah surprised by the Elders. That does not happen in Oceania. The tupapau is just the thing... According to Tahitian beliefs, the title Manao tupapau has a double meaning... either she thinks of the ghost or the ghost thinks of her. To recapitulate: Musical part - undulating horizontal lines - harmonies in orange and blue linked by yellows and violets, from which they derive. The light and the greenish sparks. Literary part - the spirit of a living girl linked with the spirit of Death. Night and Day. This genèse is written  for those who always have to know the whys and wherefores. Otherwise the picture is simply a study of a Polynesian nude.Noa NoaNoa Noa was originally conceived as a travelogue to accompany Gauguin's 1893 Durand-Ruel exhibition. Gauguin wrote the first rough draft (now in the Getty Center) in 1893 but could not complete it in time. He subsequently entered into a collaboration with the Symbolist poet Charles Morice to produce a more elaborate and imaginative work. The manuscript for this, prepared between 1893 and 1897, is now in the Louvre. Extracts, including those dealing with the painting, were published in 1897 in the La Revue Blanche, while the whole work was finally published at Morice's expense, Gauguin having essentially lost interest, in 1901 in the La Plume edition.In the draft account, Gauguin describes coming home late to find Teha'amana lying on her bed in the dark. This was to be followed by a description of the painting he never inserted. Finally he records Teha'amana chiding Gauguin for leaving her in the dark:One day I had to go to Papeete. I had promised to come back that same evening. On the way back the carriage broke down half way: I had to do the rest on foot. It was one in the morning when I got home. Having at that moment very little oil in the house - my stock was to be replenished - the lamp had gone out, and the room was in darkness when I went in. I felt afraid and, more still, mistrustful. Surely the bird has flown. I struck matches and saw on the bed (Description of the picture Tupapau)  The poor child came to herself again and I did all I could to restore her confidence. 'Never leave me alone again like this without light! What have you been doing in town? - you've been to see women, the kind who go to the market to drink and dance, then give themselves to the officers, to the sailors, to everybody?'Gauguin's account is considerably extended in the final published version. Critics agree that Morice was responsible for the expansion, albeit with the full support of Gauguin. The description of the painting, previously omitted, now commences:Tehura lay motionless, naked, belly down on the bed: she stared up at me, her eyes wide with fear, and she seemed not to know who I was. For a moment I too felt a strange uncertainty. Tehura's dread was contagious: it seemed to me that a phosphorescent light poured from her staring eyes. I had never seen her so lovely; above all I had never seen her beauty so moving. And in the half-shadow, which no doubt seethed with dangerous apparitions and ambiguous shapes, I feared to make the slightest move in case the child should be terrified out of her mind. Did I know what she thought I was, in that instant? Perhaps she took me, with my anguished face, for one of those legendary demons or specters, the Tupapaus that filled the sleepless nights of her people.This final version continues, as in the draft, with the quarrel over using prostitutes in town, and then concludes with a new remark:I would not quarrel with her, and the night was soft, soft and ardent, a night of the tropics. ...where Morice invokes what Pollock characterizes as an imaginary Utopia whose material foundation nevertheless lay in concrete social spaces, redefined by colonialism.Wadley comments, as essentially does Frèches-Thory, that the painting is an example of the fusion of reality and fiction in Gauguin's mature work. The two accounts of Tehura's reaction, that she was haunted by the tupapau, and that she was angrily suspicious Gauguin had been using prostitutes, likewise pose a similar confrontation between fiction and probable fact.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: How does Spirit of the Dead Watching explain its Commentary by Gauguin?

There are five sources for Gauguin's description of the painting: a letter to his patron Daniel Monfreid dated 8 December 1892, another letter to his wife Mette the same day, his 1893 manuscript Cahier pour Aline ("Notebook for Aline"), the first unpublished 1893-4 draft of Noa Noa and then finally the published 1901 version prepared together with his collaborator  Charles Morice. Richard Field has provided a critical analysis of these sources.Letter to Daniel MonfreidIn an 8 December 1892 letter to Daniel Monfreid, Gauguin gives the titles of eight paintings he is sending out for exhibition in Copenhagen. He translates the title Manao tupapau as "Think of the Ghost, or, The Spirits of the Dead are Watching"  and goes on to say that he wants to reserve it for a later sale, but will sell for 2,000 francs. He describes the painting as follows (without explaining the subject is a nude):This picture is for me (excellent). Here is the genesis (for you only). General Harmony. Dark dull violet, dark blue and chrome. 1. The draperies are chrome 2. because this colour suggests night, without explaining it however, and furthermore serves as a happy medium between the yellow orange and the green, completing the harmony. These flowers are also like phosphorescences in the night (in her thoughts). The Kanakas believe that the phosphorous lights seen at night are the souls of the dead.In short, it is a fine bit of painting, although it is not according to nature.Paintings from Gauguin's first Tahitian period selected for his Copenhagen exhibitionLetter to Mette GauguinIn an 8 December 1892 letter to his wife, Gauguin gives translations of the Tahitian titles of the paintings he intends to send. He stresses this is for Mette's eyes only, so that she can provide them for those who ask for them. He fixes a price of at least 1,500 francs for the painting, and goes on to describe it as follows:I painted a nude of a young girl. In this position she is on the verge of being indecent. But I want it that way: the lines and movement are interesting to me. And so, I give her, in depicting the head, a bit of a fright. It is necessary to justify this fright if not to explain it because it is in the character of a Maori person. Traditionally these people have a great fear of the spirits of the dead. One of our own young girls [in Europe] would be frightened to be caught in this position. (The women here would not.) I have to explain this fright with the least possible literary means as was done formerly. So I did this. General harmony, somber, sad, frightening, telling in the eye like a funeral knell. Violet, somber blue, and orange-yellow. I make the linen greenish-yellow: 1 because the linen of this savage is a different linen than ours (beaten tree bark); 2 because it creates, suggests artificial light (the Kanaka woman never sleeps in darkness) and yet I don't want the effect of a lamp (it is common); 3 this yellow linking the orange-yellow and the blue completes the musical harmony. There are several flowers in the background, but they should not be real, being imaginative, I make them resemble sparks. For the Kanaka, the phosphorescences of the night are from the spirit of the dead, they believe they are there and fear them. Finally, to end, I make the ghost quite simply, a little old woman; because the young girl, unacquainted with the spirits of the French stage, could not visualise death except in the form of a person like herself. There you have the script that will prepare you for the critics when they bombard you with their malicious questions. To conclude, the painting had to be made very simple, the motif being savage, childlike  According to Gauguin, the phosphorescences that could be seen in Tahiti at night, and which natives believed to be the exhalations of the spirits of the dead, were emitted by mushrooms that grew on trees. The description of the spirit of the dead that the artist would have been familiar with came from the work of Pierre Loti, who described the spirit as a "blue-faced monster with sharp fangs"; the decision to paint an old woman instead of a bizarre demon may have been prompted by the desire to use a symbol that would be more familiar to a European audience.Cahier pour AlineGauguin began this notebook in 1893 for his eldest daughter Aline, then sixteen years old, during his first visit to Tahiti. Unfortunately she died in 1897 from pneumonia before she could receive it. The notebook includes a description of the painting, under the title Genèse d'un tableau ("Genesis of a picture"), accompanied by a watercolor sketch. It is here that Gauguin remarked the title Manao tupapau can be understood in two ways:In this rather daring position, quite naked on a bed, what might a young Kanaka girl be doing? Preparing for love? This is indeed in her character, but it is indecent and I do not want that. Sleeping, after the act of love? But that is still indecent. The only possible thing is fear. What kind of fear? Certainly not the fear of Susannah surprised by the Elders. That does not happen in Oceania. The tupapau is just the thing... According to Tahitian beliefs, the title Manao tupapau has a double meaning... either she thinks of the ghost or the ghost thinks of her. To recapitulate: Musical part - undulating horizontal lines - harmonies in orange and blue linked by yellows and violets, from which they derive. The light and the greenish sparks. Literary part - the spirit of a living girl linked with the spirit of Death. Night and Day. This genèse is written  for those who always have to know the whys and wherefores. Otherwise the picture is simply a study of a Polynesian nude.Noa NoaNoa Noa was originally conceived as a travelogue to accompany Gauguin's 1893 Durand-Ruel exhibition. Gauguin wrote the first rough draft (now in the Getty Center) in 1893 but could not complete it in time. He subsequently entered into a collaboration with the Symbolist poet Charles Morice to produce a more elaborate and imaginative work. The manuscript for this, prepared between 1893 and 1897, is now in the Louvre. Extracts, including those dealing with the painting, were published in 1897 in the La Revue Blanche, while the whole work was finally published at Morice's expense, Gauguin having essentially lost interest, in 1901 in the La Plume edition.In the draft account, Gauguin describes coming home late to find Teha'amana lying on her bed in the dark. This was to be followed by a description of the painting he never inserted. Finally he records Teha'amana chiding Gauguin for leaving her in the dark:One day I had to go to Papeete. I had promised to come back that same evening. On the way back the carriage broke down half way: I had to do the rest on foot. It was one in the morning when I got home. Having at that moment very little oil in the house - my stock was to be replenished - the lamp had gone out, and the room was in darkness when I went in. I felt afraid and, more still, mistrustful. Surely the bird has flown. I struck matches and saw on the bed (Description of the picture Tupapau)  The poor child came to herself again and I did all I could to restore her confidence. 'Never leave me alone again like this without light! What have you been doing in town? - you've been to see women, the kind who go to the market to drink and dance, then give themselves to the officers, to the sailors, to everybody?'Gauguin's account is considerably extended in the final published version. Critics agree that Morice was responsible for the expansion, albeit with the full support of Gauguin. The description of the painting, previously omitted, now commences:Tehura lay motionless, naked, belly down on the bed: she stared up at me, her eyes wide with fear, and she seemed not to know who I was. For a moment I too felt a strange uncertainty. Tehura's dread was contagious: it seemed to me that a phosphorescent light poured from her staring eyes. I had never seen her so lovely; above all I had never seen her beauty so moving. And in the half-shadow, which no doubt seethed with dangerous apparitions and ambiguous shapes, I feared to make the slightest move in case the child should be terrified out of her mind. Did I know what she thought I was, in that instant? Perhaps she took me, with my anguished face, for one of those legendary demons or specters, the Tupapaus that filled the sleepless nights of her people.This final version continues, as in the draft, with the quarrel over using prostitutes in town, and then concludes with a new remark:I would not quarrel with her, and the night was soft, soft and ardent, a night of the tropics. ...where Morice invokes what Pollock characterizes as an imaginary Utopia whose material foundation nevertheless lay in concrete social spaces, redefined by colonialism.Wadley comments, as essentially does Frèches-Thory, that the painting is an example of the fusion of reality and fiction in Gauguin's mature work. The two accounts of Tehura's reaction, that she was haunted by the tupapau, and that she was angrily suspicious Gauguin had been using prostitutes, likewise pose a similar confrontation between fiction and probable fact.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: In Spirit of the Dead Watching, how is the Commentary by Gauguin discussed?

There are five sources for Gauguin's description of the painting: a letter to his patron Daniel Monfreid dated 8 December 1892, another letter to his wife Mette the same day, his 1893 manuscript Cahier pour Aline ("Notebook for Aline"), the first unpublished 1893-4 draft of Noa Noa and then finally the published 1901 version prepared together with his collaborator  Charles Morice. Richard Field has provided a critical analysis of these sources.Letter to Daniel MonfreidIn an 8 December 1892 letter to Daniel Monfreid, Gauguin gives the titles of eight paintings he is sending out for exhibition in Copenhagen. He translates the title Manao tupapau as "Think of the Ghost, or, The Spirits of the Dead are Watching"  and goes on to say that he wants to reserve it for a later sale, but will sell for 2,000 francs. He describes the painting as follows (without explaining the subject is a nude):This picture is for me (excellent). Here is the genesis (for you only). General Harmony. Dark dull violet, dark blue and chrome. 1. The draperies are chrome 2. because this colour suggests night, without explaining it however, and furthermore serves as a happy medium between the yellow orange and the green, completing the harmony. These flowers are also like phosphorescences in the night (in her thoughts). The Kanakas believe that the phosphorous lights seen at night are the souls of the dead.In short, it is a fine bit of painting, although it is not according to nature.Paintings from Gauguin's first Tahitian period selected for his Copenhagen exhibitionLetter to Mette GauguinIn an 8 December 1892 letter to his wife, Gauguin gives translations of the Tahitian titles of the paintings he intends to send. He stresses this is for Mette's eyes only, so that she can provide them for those who ask for them. He fixes a price of at least 1,500 francs for the painting, and goes on to describe it as follows:I painted a nude of a young girl. In this position she is on the verge of being indecent. But I want it that way: the lines and movement are interesting to me. And so, I give her, in depicting the head, a bit of a fright. It is necessary to justify this fright if not to explain it because it is in the character of a Maori person. Traditionally these people have a great fear of the spirits of the dead. One of our own young girls [in Europe] would be frightened to be caught in this position. (The women here would not.) I have to explain this fright with the least possible literary means as was done formerly. So I did this. General harmony, somber, sad, frightening, telling in the eye like a funeral knell. Violet, somber blue, and orange-yellow. I make the linen greenish-yellow: 1 because the linen of this savage is a different linen than ours (beaten tree bark); 2 because it creates, suggests artificial light (the Kanaka woman never sleeps in darkness) and yet I don't want the effect of a lamp (it is common); 3 this yellow linking the orange-yellow and the blue completes the musical harmony. There are several flowers in the background, but they should not be real, being imaginative, I make them resemble sparks. For the Kanaka, the phosphorescences of the night are from the spirit of the dead, they believe they are there and fear them. Finally, to end, I make the ghost quite simply, a little old woman; because the young girl, unacquainted with the spirits of the French stage, could not visualise death except in the form of a person like herself. There you have the script that will prepare you for the critics when they bombard you with their malicious questions. To conclude, the painting had to be made very simple, the motif being savage, childlike  According to Gauguin, the phosphorescences that could be seen in Tahiti at night, and which natives believed to be the exhalations of the spirits of the dead, were emitted by mushrooms that grew on trees. The description of the spirit of the dead that the artist would have been familiar with came from the work of Pierre Loti, who described the spirit as a "blue-faced monster with sharp fangs"; the decision to paint an old woman instead of a bizarre demon may have been prompted by the desire to use a symbol that would be more familiar to a European audience.Cahier pour AlineGauguin began this notebook in 1893 for his eldest daughter Aline, then sixteen years old, during his first visit to Tahiti. Unfortunately she died in 1897 from pneumonia before she could receive it. The notebook includes a description of the painting, under the title Genèse d'un tableau ("Genesis of a picture"), accompanied by a watercolor sketch. It is here that Gauguin remarked the title Manao tupapau can be understood in two ways:In this rather daring position, quite naked on a bed, what might a young Kanaka girl be doing? Preparing for love? This is indeed in her character, but it is indecent and I do not want that. Sleeping, after the act of love? But that is still indecent. The only possible thing is fear. What kind of fear? Certainly not the fear of Susannah surprised by the Elders. That does not happen in Oceania. The tupapau is just the thing... According to Tahitian beliefs, the title Manao tupapau has a double meaning... either she thinks of the ghost or the ghost thinks of her. To recapitulate: Musical part - undulating horizontal lines - harmonies in orange and blue linked by yellows and violets, from which they derive. The light and the greenish sparks. Literary part - the spirit of a living girl linked with the spirit of Death. Night and Day. This genèse is written  for those who always have to know the whys and wherefores. Otherwise the picture is simply a study of a Polynesian nude.Noa NoaNoa Noa was originally conceived as a travelogue to accompany Gauguin's 1893 Durand-Ruel exhibition. Gauguin wrote the first rough draft (now in the Getty Center) in 1893 but could not complete it in time. He subsequently entered into a collaboration with the Symbolist poet Charles Morice to produce a more elaborate and imaginative work. The manuscript for this, prepared between 1893 and 1897, is now in the Louvre. Extracts, including those dealing with the painting, were published in 1897 in the La Revue Blanche, while the whole work was finally published at Morice's expense, Gauguin having essentially lost interest, in 1901 in the La Plume edition.In the draft account, Gauguin describes coming home late to find Teha'amana lying on her bed in the dark. This was to be followed by a description of the painting he never inserted. Finally he records Teha'amana chiding Gauguin for leaving her in the dark:One day I had to go to Papeete. I had promised to come back that same evening. On the way back the carriage broke down half way: I had to do the rest on foot. It was one in the morning when I got home. Having at that moment very little oil in the house - my stock was to be replenished - the lamp had gone out, and the room was in darkness when I went in. I felt afraid and, more still, mistrustful. Surely the bird has flown. I struck matches and saw on the bed (Description of the picture Tupapau)  The poor child came to herself again and I did all I could to restore her confidence. 'Never leave me alone again like this without light! What have you been doing in town? - you've been to see women, the kind who go to the market to drink and dance, then give themselves to the officers, to the sailors, to everybody?'Gauguin's account is considerably extended in the final published version. Critics agree that Morice was responsible for the expansion, albeit with the full support of Gauguin. The description of the painting, previously omitted, now commences:Tehura lay motionless, naked, belly down on the bed: she stared up at me, her eyes wide with fear, and she seemed not to know who I was. For a moment I too felt a strange uncertainty. Tehura's dread was contagious: it seemed to me that a phosphorescent light poured from her staring eyes. I had never seen her so lovely; above all I had never seen her beauty so moving. And in the half-shadow, which no doubt seethed with dangerous apparitions and ambiguous shapes, I feared to make the slightest move in case the child should be terrified out of her mind. Did I know what she thought I was, in that instant? Perhaps she took me, with my anguished face, for one of those legendary demons or specters, the Tupapaus that filled the sleepless nights of her people.This final version continues, as in the draft, with the quarrel over using prostitutes in town, and then concludes with a new remark:I would not quarrel with her, and the night was soft, soft and ardent, a night of the tropics. ...where Morice invokes what Pollock characterizes as an imaginary Utopia whose material foundation nevertheless lay in concrete social spaces, redefined by colonialism.Wadley comments, as essentially does Frèches-Thory, that the painting is an example of the fusion of reality and fiction in Gauguin's mature work. The two accounts of Tehura's reaction, that she was haunted by the tupapau, and that she was angrily suspicious Gauguin had been using prostitutes, likewise pose a similar confrontation between fiction and probable fact.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: Focus on Spirit of the Dead Watching and explain the Other versions.

Gauguin reprised the theme in a pastel (from which there are two counterproofs recorded), in a lithograph, and in several woodcuts, one of which is part of the innovative suite of woodcuts he prepared for his travelogue Noa Noa.PastelThe pastel is done on the reverse of a fully worked pastel study of Annah the Javanese. That study has been cut at the head, indicating that the pastel of the reclining nude was executed later and is thus a study of Anna rather than Teha'amana, dating from between 1894 and 1895. Art historian Richard Brettell notes the androgynous quality of the figure.LithographThis was the only lithograph on stone executed by Gauguin (other 'lithographs' are in fact zincographs, i.e. transferred from zinc plates). It appeared in the 6th issue of L'Estampe originale, a journal devoted to publishing limited editions of contemporary prints.WoodcutsGauguin prepared his suite of ten Noa Noa woodcuts to accompany his travelogue, but they were never published in his lifetime. The 1901 La Plume edition was planned to include them, but Gauguin declined to allow the publishers to print them on smooth paper. These woodcuts were extremely innovative, amounting to a revolution in printmaking. Also notable is the large 1894 woodcut he prepared in Brittany. This has a carving of the face and upper body of the frightened Teha'amana cut into the reverse of the block, one of three scenes cut into the reverse that Gauguin used to make impressions.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: Explain the Other versions of this artwork, Spirit of the Dead Watching.

Gauguin reprised the theme in a pastel (from which there are two counterproofs recorded), in a lithograph, and in several woodcuts, one of which is part of the innovative suite of woodcuts he prepared for his travelogue Noa Noa.PastelThe pastel is done on the reverse of a fully worked pastel study of Annah the Javanese. That study has been cut at the head, indicating that the pastel of the reclining nude was executed later and is thus a study of Anna rather than Teha'amana, dating from between 1894 and 1895. Art historian Richard Brettell notes the androgynous quality of the figure.LithographThis was the only lithograph on stone executed by Gauguin (other 'lithographs' are in fact zincographs, i.e. transferred from zinc plates). It appeared in the 6th issue of L'Estampe originale, a journal devoted to publishing limited editions of contemporary prints.WoodcutsGauguin prepared his suite of ten Noa Noa woodcuts to accompany his travelogue, but they were never published in his lifetime. The 1901 La Plume edition was planned to include them, but Gauguin declined to allow the publishers to print them on smooth paper. These woodcuts were extremely innovative, amounting to a revolution in printmaking. Also notable is the large 1894 woodcut he prepared in Brittany. This has a carving of the face and upper body of the frightened Teha'amana cut into the reverse of the block, one of three scenes cut into the reverse that Gauguin used to make impressions.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: How does Spirit of the Dead Watching explain its Other versions?

Gauguin reprised the theme in a pastel (from which there are two counterproofs recorded), in a lithograph, and in several woodcuts, one of which is part of the innovative suite of woodcuts he prepared for his travelogue Noa Noa.PastelThe pastel is done on the reverse of a fully worked pastel study of Annah the Javanese. That study has been cut at the head, indicating that the pastel of the reclining nude was executed later and is thus a study of Anna rather than Teha'amana, dating from between 1894 and 1895. Art historian Richard Brettell notes the androgynous quality of the figure.LithographThis was the only lithograph on stone executed by Gauguin (other 'lithographs' are in fact zincographs, i.e. transferred from zinc plates). It appeared in the 6th issue of L'Estampe originale, a journal devoted to publishing limited editions of contemporary prints.WoodcutsGauguin prepared his suite of ten Noa Noa woodcuts to accompany his travelogue, but they were never published in his lifetime. The 1901 La Plume edition was planned to include them, but Gauguin declined to allow the publishers to print them on smooth paper. These woodcuts were extremely innovative, amounting to a revolution in printmaking. Also notable is the large 1894 woodcut he prepared in Brittany. This has a carving of the face and upper body of the frightened Teha'amana cut into the reverse of the block, one of three scenes cut into the reverse that Gauguin used to make impressions.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: In Spirit of the Dead Watching, how is the Other versions discussed?

Gauguin reprised the theme in a pastel (from which there are two counterproofs recorded), in a lithograph, and in several woodcuts, one of which is part of the innovative suite of woodcuts he prepared for his travelogue Noa Noa.PastelThe pastel is done on the reverse of a fully worked pastel study of Annah the Javanese. That study has been cut at the head, indicating that the pastel of the reclining nude was executed later and is thus a study of Anna rather than Teha'amana, dating from between 1894 and 1895. Art historian Richard Brettell notes the androgynous quality of the figure.LithographThis was the only lithograph on stone executed by Gauguin (other 'lithographs' are in fact zincographs, i.e. transferred from zinc plates). It appeared in the 6th issue of L'Estampe originale, a journal devoted to publishing limited editions of contemporary prints.WoodcutsGauguin prepared his suite of ten Noa Noa woodcuts to accompany his travelogue, but they were never published in his lifetime. The 1901 La Plume edition was planned to include them, but Gauguin declined to allow the publishers to print them on smooth paper. These woodcuts were extremely innovative, amounting to a revolution in printmaking. Also notable is the large 1894 woodcut he prepared in Brittany. This has a carving of the face and upper body of the frightened Teha'amana cut into the reverse of the block, one of three scenes cut into the reverse that Gauguin used to make impressions.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: Focus on Spirit of the Dead Watching and explain the History.

The painting was among the eight canvases Gauguin sent for exhibition at Copenhagen in 1893. He evidently prized it highly, for in his letter to Monfreid quoted above he said he wanted to reserve it for a later sale, although he would let it go for 2,000 francs. Later that same year, when he returned to Paris, it was exhibited at his Durand-Ruel show, where it failed to sell for the 3,000 francs he asked for it, despite favourable reviews from critics including Edgar Dégas. It was included in his unsuccessful 1895 Hôtel Drouot sale to raise funds for his return to Tahiti, when he was obliged to buy it in for just 900 francs. Subsequently, he left it in the care of a dealer, who failed to sell it. By 1901 it was with Gauguin's new dealer Ambroise Vollard, with whom Gauguin had reached an arrangement that allowed him a measure of financial security in his final years. Vollard valued it at between only 400 and 500 francs. Eventually it reached the newly opened Galerie Druet, where it was acquired by Count Kesslar of Weimar, a noted patron of modern art. As publisher, Kesslar was responsible for publishing in 1906 the first monograph on Gauguin, by Jean de Rotonchamp.Subsequent owners included Sir Michael Sadler and Lord Ivor Spencer-Churchill. It was purchased in 1929 by  A. Conger Goodyear, whose art collection was bequeathed to the Buffalo Academy of Fine Arts housed at the Albright–Knox Art Gallery.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: Explain the History of this artwork, Spirit of the Dead Watching.

The painting was among the eight canvases Gauguin sent for exhibition at Copenhagen in 1893. He evidently prized it highly, for in his letter to Monfreid quoted above he said he wanted to reserve it for a later sale, although he would let it go for 2,000 francs. Later that same year, when he returned to Paris, it was exhibited at his Durand-Ruel show, where it failed to sell for the 3,000 francs he asked for it, despite favourable reviews from critics including Edgar Dégas. It was included in his unsuccessful 1895 Hôtel Drouot sale to raise funds for his return to Tahiti, when he was obliged to buy it in for just 900 francs. Subsequently, he left it in the care of a dealer, who failed to sell it. By 1901 it was with Gauguin's new dealer Ambroise Vollard, with whom Gauguin had reached an arrangement that allowed him a measure of financial security in his final years. Vollard valued it at between only 400 and 500 francs. Eventually it reached the newly opened Galerie Druet, where it was acquired by Count Kesslar of Weimar, a noted patron of modern art. As publisher, Kesslar was responsible for publishing in 1906 the first monograph on Gauguin, by Jean de Rotonchamp.Subsequent owners included Sir Michael Sadler and Lord Ivor Spencer-Churchill. It was purchased in 1929 by  A. Conger Goodyear, whose art collection was bequeathed to the Buffalo Academy of Fine Arts housed at the Albright–Knox Art Gallery.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: How does Spirit of the Dead Watching explain its History?

The painting was among the eight canvases Gauguin sent for exhibition at Copenhagen in 1893. He evidently prized it highly, for in his letter to Monfreid quoted above he said he wanted to reserve it for a later sale, although he would let it go for 2,000 francs. Later that same year, when he returned to Paris, it was exhibited at his Durand-Ruel show, where it failed to sell for the 3,000 francs he asked for it, despite favourable reviews from critics including Edgar Dégas. It was included in his unsuccessful 1895 Hôtel Drouot sale to raise funds for his return to Tahiti, when he was obliged to buy it in for just 900 francs. Subsequently, he left it in the care of a dealer, who failed to sell it. By 1901 it was with Gauguin's new dealer Ambroise Vollard, with whom Gauguin had reached an arrangement that allowed him a measure of financial security in his final years. Vollard valued it at between only 400 and 500 francs. Eventually it reached the newly opened Galerie Druet, where it was acquired by Count Kesslar of Weimar, a noted patron of modern art. As publisher, Kesslar was responsible for publishing in 1906 the first monograph on Gauguin, by Jean de Rotonchamp.Subsequent owners included Sir Michael Sadler and Lord Ivor Spencer-Churchill. It was purchased in 1929 by  A. Conger Goodyear, whose art collection was bequeathed to the Buffalo Academy of Fine Arts housed at the Albright–Knox Art Gallery.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


Spirit of the Dead Watching

Prompt: In Spirit of the Dead Watching, how is the History discussed?

The painting was among the eight canvases Gauguin sent for exhibition at Copenhagen in 1893. He evidently prized it highly, for in his letter to Monfreid quoted above he said he wanted to reserve it for a later sale, although he would let it go for 2,000 francs. Later that same year, when he returned to Paris, it was exhibited at his Durand-Ruel show, where it failed to sell for the 3,000 francs he asked for it, despite favourable reviews from critics including Edgar Dégas. It was included in his unsuccessful 1895 Hôtel Drouot sale to raise funds for his return to Tahiti, when he was obliged to buy it in for just 900 francs. Subsequently, he left it in the care of a dealer, who failed to sell it. By 1901 it was with Gauguin's new dealer Ambroise Vollard, with whom Gauguin had reached an arrangement that allowed him a measure of financial security in his final years. Vollard valued it at between only 400 and 500 francs. Eventually it reached the newly opened Galerie Druet, where it was acquired by Count Kesslar of Weimar, a noted patron of modern art. As publisher, Kesslar was responsible for publishing in 1906 the first monograph on Gauguin, by Jean de Rotonchamp.Subsequent owners included Sir Michael Sadler and Lord Ivor Spencer-Churchill. It was purchased in 1929 by  A. Conger Goodyear, whose art collection was bequeathed to the Buffalo Academy of Fine Arts housed at the Albright–Knox Art Gallery.

File:Paul Gauguin - Texte manuscrit illustré avec une femme assise - RF 7259, 70.jpg

''Cahier pour Aline: Genèse d'un tableau'', 1893, Bibliothèque de l'Institut National d'Histoire de l'Art, Paris

David Pierre Giottino Humbert de Superville's

File:Paul Gauguin - Cahier pour Aline - Spirit of the Dead Watching.jpg

''Le Conteur Parle'' (Louvre manuscript), 1893–97, [[Louvre

Institut National de l'Histoire de l'Art

unpublished 1902 pamphlet on Catholicism

''Breton Eve'', 1889, ''[[McNay Art Museum

Category:Paintings in the Buffalo AKG Art Museum

File:Paul Gauguin - Copy of Manet's Olympia.jpg

Humbert de Superville, ''Allegory'', 1801, [[Leiden University Library

Association of Historians of Nineteenth-Century Art

File:Humbert de Superville - Allegory.jpg


The Immaculate Conception (Tiepolo)

Prompt: Focus on The Immaculate Conception (Tiepolo) and explain the abstract.

The Immaculate Conception is a painting by Italian painter Giovanni Battista Tiepolo (1696–1770). The painting was one of seven altarpieces commissioned in March 1767 from Tiepolo by King Charles III of Spain for the Church of Saint Pascual in Aranjuez, then under construction. This was originally an Alcantarine (Franciscan) monastery that was later assigned to the Conceptionist nuns.The painting was commissioned in 1767, at a time when the Immaculate Conception  was already a common theme in Ecclesiastical art, the Feast of the Immaculate Conception (8 December) having been restored to the Calendar of Saints in 1708, though its theology would not be definitely settled as dogma until Pope Pius IX's declaration in 1854. It represents the Immaculate Conception, a tradition of the Catholic Church stating that the Virgin Mary was conceived without original sin. It depicts the Virgin Mary, surrounded by angels and crowned with the circle of stars. She is shown trampling a snake, representing her victory over the devil. The lilies and the rose are references to hortus conclusus ("enclosed garden"), and symbolize Mary's love, virginity and purity. The painting is now in the Prado Museum, Madrid.Tiepolo's altarpieces were transferred to the adjoining convent soon after they were installed in the church. They were replaced by an identically themed set by Anton Raphael Mengs, whose neo-classicism was more to Charles III's taste. Finally The Immaculate Conception was transferred to the Prado Museum in 1827.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: Explain the abstract of this artwork, The Immaculate Conception (Tiepolo).

The Immaculate Conception is a painting by Italian painter Giovanni Battista Tiepolo (1696–1770). The painting was one of seven altarpieces commissioned in March 1767 from Tiepolo by King Charles III of Spain for the Church of Saint Pascual in Aranjuez, then under construction. This was originally an Alcantarine (Franciscan) monastery that was later assigned to the Conceptionist nuns.The painting was commissioned in 1767, at a time when the Immaculate Conception  was already a common theme in Ecclesiastical art, the Feast of the Immaculate Conception (8 December) having been restored to the Calendar of Saints in 1708, though its theology would not be definitely settled as dogma until Pope Pius IX's declaration in 1854. It represents the Immaculate Conception, a tradition of the Catholic Church stating that the Virgin Mary was conceived without original sin. It depicts the Virgin Mary, surrounded by angels and crowned with the circle of stars. She is shown trampling a snake, representing her victory over the devil. The lilies and the rose are references to hortus conclusus ("enclosed garden"), and symbolize Mary's love, virginity and purity. The painting is now in the Prado Museum, Madrid.Tiepolo's altarpieces were transferred to the adjoining convent soon after they were installed in the church. They were replaced by an identically themed set by Anton Raphael Mengs, whose neo-classicism was more to Charles III's taste. Finally The Immaculate Conception was transferred to the Prado Museum in 1827.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: How does The Immaculate Conception (Tiepolo) explain its abstract?

The Immaculate Conception is a painting by Italian painter Giovanni Battista Tiepolo (1696–1770). The painting was one of seven altarpieces commissioned in March 1767 from Tiepolo by King Charles III of Spain for the Church of Saint Pascual in Aranjuez, then under construction. This was originally an Alcantarine (Franciscan) monastery that was later assigned to the Conceptionist nuns.The painting was commissioned in 1767, at a time when the Immaculate Conception  was already a common theme in Ecclesiastical art, the Feast of the Immaculate Conception (8 December) having been restored to the Calendar of Saints in 1708, though its theology would not be definitely settled as dogma until Pope Pius IX's declaration in 1854. It represents the Immaculate Conception, a tradition of the Catholic Church stating that the Virgin Mary was conceived without original sin. It depicts the Virgin Mary, surrounded by angels and crowned with the circle of stars. She is shown trampling a snake, representing her victory over the devil. The lilies and the rose are references to hortus conclusus ("enclosed garden"), and symbolize Mary's love, virginity and purity. The painting is now in the Prado Museum, Madrid.Tiepolo's altarpieces were transferred to the adjoining convent soon after they were installed in the church. They were replaced by an identically themed set by Anton Raphael Mengs, whose neo-classicism was more to Charles III's taste. Finally The Immaculate Conception was transferred to the Prado Museum in 1827.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: In The Immaculate Conception (Tiepolo), how is the abstract discussed?

The Immaculate Conception is a painting by Italian painter Giovanni Battista Tiepolo (1696–1770). The painting was one of seven altarpieces commissioned in March 1767 from Tiepolo by King Charles III of Spain for the Church of Saint Pascual in Aranjuez, then under construction. This was originally an Alcantarine (Franciscan) monastery that was later assigned to the Conceptionist nuns.The painting was commissioned in 1767, at a time when the Immaculate Conception  was already a common theme in Ecclesiastical art, the Feast of the Immaculate Conception (8 December) having been restored to the Calendar of Saints in 1708, though its theology would not be definitely settled as dogma until Pope Pius IX's declaration in 1854. It represents the Immaculate Conception, a tradition of the Catholic Church stating that the Virgin Mary was conceived without original sin. It depicts the Virgin Mary, surrounded by angels and crowned with the circle of stars. She is shown trampling a snake, representing her victory over the devil. The lilies and the rose are references to hortus conclusus ("enclosed garden"), and symbolize Mary's love, virginity and purity. The painting is now in the Prado Museum, Madrid.Tiepolo's altarpieces were transferred to the adjoining convent soon after they were installed in the church. They were replaced by an identically themed set by Anton Raphael Mengs, whose neo-classicism was more to Charles III's taste. Finally The Immaculate Conception was transferred to the Prado Museum in 1827.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: Focus on The Immaculate Conception (Tiepolo) and explain the Painting.

The imposing Baroque style of the painting is meant to evoke emotion. It was completed between 1767 and 1768. The depiction of the Virgin Mary is done according to traditional Christian iconography, and represents her Immaculate Conception, free from original sin. Standard iconographic elements include the dove above her, the stars around her head, her position on the crescent moon with a snake crushed under her feet, her hands held together in prayer, and the obelisk on her right.Additional iconography which accords to this theme include clouds, cherubs, lilies and a pink rose, flowers which are often associated with Mary. The dove above her head symbolizes the Holy Ghost, while the rose and the lilies are her customary symbols, lilies representing her purity,  while the rose is the symbol for Mary, Queen of heaven and earth. Her girdle should be the cord of St. Francis.The globe symbolizing the whole world, the crescent moon and the starry crown above her head are traditional symbols of the "woman clothed with the sun" (Virgo in Sole) described in Revelation 12:1-2. The crescent moon itself is an ancient symbol of chastity deriving from the Roman goddess Diana. Just as the moon derives its light from the sun, so Mary's special grace derives from the merits of Christ, her Son. The obelisk to her right also shimmers in the light of the sun and references traditional symbols of the Immaculate Conception associated with the Tower of David and the Ivory Tower, evoking impregnability, virginity and purity. Mary is depicted as trampling a serpent holding an apple in its mouth, representing the  serpent in the Garden of Eden and Original Sin. A  palm branch, and a mirror are seen under her feet. The palm branch signifies Mary's victory and exaltation, the mirror her purity.Originating in Spain with Francisco Pacheco, the popularity of this particular representation of The Immaculate Conception spread across Europe. Tiepolo had painted an earlier version of the Immaculate Conception in 1734 for the Franciscan church of Santa Maria in Araceli in Vicenza. That version depicted the Virgin Mary as a beautiful young girl in the manner already established by Guido Reni and Bartolomé Esteban Murillo following Pacheco. The painting is now in Vicenza's civic museum at the Palazzo Chiericati. In the present version the depiction of Mary is rather more majestic and solemn in keeping with the Alcantarine tradition of austerity.Tiepolo painted a set of five modelli for his altarpieces. These are now all at the Courtauld Institute of Art in London and are considered amongst his finest work. The modello for the Immaculate Conception differs from the final version in several respects. In the final version the figure of Mary occupies more space and lacks the muscular supporting angel on her left. That angel is thought to be a representation of the archangel Michael whose slaying of Lucifer prefigured Mary's role as an instrument of salvation. The angel is present in an oil sketch executed around the same time, now in the National Gallery of Ireland, considered iconographically the most complex of Tiepolo's depictions of the Immaculate Conception. Note the triangular halo signifying the Trinity.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: Explain the Painting of this artwork, The Immaculate Conception (Tiepolo).

The imposing Baroque style of the painting is meant to evoke emotion. It was completed between 1767 and 1768. The depiction of the Virgin Mary is done according to traditional Christian iconography, and represents her Immaculate Conception, free from original sin. Standard iconographic elements include the dove above her, the stars around her head, her position on the crescent moon with a snake crushed under her feet, her hands held together in prayer, and the obelisk on her right.Additional iconography which accords to this theme include clouds, cherubs, lilies and a pink rose, flowers which are often associated with Mary. The dove above her head symbolizes the Holy Ghost, while the rose and the lilies are her customary symbols, lilies representing her purity,  while the rose is the symbol for Mary, Queen of heaven and earth. Her girdle should be the cord of St. Francis.The globe symbolizing the whole world, the crescent moon and the starry crown above her head are traditional symbols of the "woman clothed with the sun" (Virgo in Sole) described in Revelation 12:1-2. The crescent moon itself is an ancient symbol of chastity deriving from the Roman goddess Diana. Just as the moon derives its light from the sun, so Mary's special grace derives from the merits of Christ, her Son. The obelisk to her right also shimmers in the light of the sun and references traditional symbols of the Immaculate Conception associated with the Tower of David and the Ivory Tower, evoking impregnability, virginity and purity. Mary is depicted as trampling a serpent holding an apple in its mouth, representing the  serpent in the Garden of Eden and Original Sin. A  palm branch, and a mirror are seen under her feet. The palm branch signifies Mary's victory and exaltation, the mirror her purity.Originating in Spain with Francisco Pacheco, the popularity of this particular representation of The Immaculate Conception spread across Europe. Tiepolo had painted an earlier version of the Immaculate Conception in 1734 for the Franciscan church of Santa Maria in Araceli in Vicenza. That version depicted the Virgin Mary as a beautiful young girl in the manner already established by Guido Reni and Bartolomé Esteban Murillo following Pacheco. The painting is now in Vicenza's civic museum at the Palazzo Chiericati. In the present version the depiction of Mary is rather more majestic and solemn in keeping with the Alcantarine tradition of austerity.Tiepolo painted a set of five modelli for his altarpieces. These are now all at the Courtauld Institute of Art in London and are considered amongst his finest work. The modello for the Immaculate Conception differs from the final version in several respects. In the final version the figure of Mary occupies more space and lacks the muscular supporting angel on her left. That angel is thought to be a representation of the archangel Michael whose slaying of Lucifer prefigured Mary's role as an instrument of salvation. The angel is present in an oil sketch executed around the same time, now in the National Gallery of Ireland, considered iconographically the most complex of Tiepolo's depictions of the Immaculate Conception. Note the triangular halo signifying the Trinity.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: How does The Immaculate Conception (Tiepolo) explain its Painting?

The imposing Baroque style of the painting is meant to evoke emotion. It was completed between 1767 and 1768. The depiction of the Virgin Mary is done according to traditional Christian iconography, and represents her Immaculate Conception, free from original sin. Standard iconographic elements include the dove above her, the stars around her head, her position on the crescent moon with a snake crushed under her feet, her hands held together in prayer, and the obelisk on her right.Additional iconography which accords to this theme include clouds, cherubs, lilies and a pink rose, flowers which are often associated with Mary. The dove above her head symbolizes the Holy Ghost, while the rose and the lilies are her customary symbols, lilies representing her purity,  while the rose is the symbol for Mary, Queen of heaven and earth. Her girdle should be the cord of St. Francis.The globe symbolizing the whole world, the crescent moon and the starry crown above her head are traditional symbols of the "woman clothed with the sun" (Virgo in Sole) described in Revelation 12:1-2. The crescent moon itself is an ancient symbol of chastity deriving from the Roman goddess Diana. Just as the moon derives its light from the sun, so Mary's special grace derives from the merits of Christ, her Son. The obelisk to her right also shimmers in the light of the sun and references traditional symbols of the Immaculate Conception associated with the Tower of David and the Ivory Tower, evoking impregnability, virginity and purity. Mary is depicted as trampling a serpent holding an apple in its mouth, representing the  serpent in the Garden of Eden and Original Sin. A  palm branch, and a mirror are seen under her feet. The palm branch signifies Mary's victory and exaltation, the mirror her purity.Originating in Spain with Francisco Pacheco, the popularity of this particular representation of The Immaculate Conception spread across Europe. Tiepolo had painted an earlier version of the Immaculate Conception in 1734 for the Franciscan church of Santa Maria in Araceli in Vicenza. That version depicted the Virgin Mary as a beautiful young girl in the manner already established by Guido Reni and Bartolomé Esteban Murillo following Pacheco. The painting is now in Vicenza's civic museum at the Palazzo Chiericati. In the present version the depiction of Mary is rather more majestic and solemn in keeping with the Alcantarine tradition of austerity.Tiepolo painted a set of five modelli for his altarpieces. These are now all at the Courtauld Institute of Art in London and are considered amongst his finest work. The modello for the Immaculate Conception differs from the final version in several respects. In the final version the figure of Mary occupies more space and lacks the muscular supporting angel on her left. That angel is thought to be a representation of the archangel Michael whose slaying of Lucifer prefigured Mary's role as an instrument of salvation. The angel is present in an oil sketch executed around the same time, now in the National Gallery of Ireland, considered iconographically the most complex of Tiepolo's depictions of the Immaculate Conception. Note the triangular halo signifying the Trinity.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: In The Immaculate Conception (Tiepolo), how is the Painting discussed?

The imposing Baroque style of the painting is meant to evoke emotion. It was completed between 1767 and 1768. The depiction of the Virgin Mary is done according to traditional Christian iconography, and represents her Immaculate Conception, free from original sin. Standard iconographic elements include the dove above her, the stars around her head, her position on the crescent moon with a snake crushed under her feet, her hands held together in prayer, and the obelisk on her right.Additional iconography which accords to this theme include clouds, cherubs, lilies and a pink rose, flowers which are often associated with Mary. The dove above her head symbolizes the Holy Ghost, while the rose and the lilies are her customary symbols, lilies representing her purity,  while the rose is the symbol for Mary, Queen of heaven and earth. Her girdle should be the cord of St. Francis.The globe symbolizing the whole world, the crescent moon and the starry crown above her head are traditional symbols of the "woman clothed with the sun" (Virgo in Sole) described in Revelation 12:1-2. The crescent moon itself is an ancient symbol of chastity deriving from the Roman goddess Diana. Just as the moon derives its light from the sun, so Mary's special grace derives from the merits of Christ, her Son. The obelisk to her right also shimmers in the light of the sun and references traditional symbols of the Immaculate Conception associated with the Tower of David and the Ivory Tower, evoking impregnability, virginity and purity. Mary is depicted as trampling a serpent holding an apple in its mouth, representing the  serpent in the Garden of Eden and Original Sin. A  palm branch, and a mirror are seen under her feet. The palm branch signifies Mary's victory and exaltation, the mirror her purity.Originating in Spain with Francisco Pacheco, the popularity of this particular representation of The Immaculate Conception spread across Europe. Tiepolo had painted an earlier version of the Immaculate Conception in 1734 for the Franciscan church of Santa Maria in Araceli in Vicenza. That version depicted the Virgin Mary as a beautiful young girl in the manner already established by Guido Reni and Bartolomé Esteban Murillo following Pacheco. The painting is now in Vicenza's civic museum at the Palazzo Chiericati. In the present version the depiction of Mary is rather more majestic and solemn in keeping with the Alcantarine tradition of austerity.Tiepolo painted a set of five modelli for his altarpieces. These are now all at the Courtauld Institute of Art in London and are considered amongst his finest work. The modello for the Immaculate Conception differs from the final version in several respects. In the final version the figure of Mary occupies more space and lacks the muscular supporting angel on her left. That angel is thought to be a representation of the archangel Michael whose slaying of Lucifer prefigured Mary's role as an instrument of salvation. The angel is present in an oil sketch executed around the same time, now in the National Gallery of Ireland, considered iconographically the most complex of Tiepolo's depictions of the Immaculate Conception. Note the triangular halo signifying the Trinity.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: Focus on The Immaculate Conception (Tiepolo) and explain the Background.

Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. Tiepolo's works, many of which are on an imposing scale, are also characterized by tension, exuberance, hedonism and intricate designs. Among Tiepolo's most popular works are mythological and religious themes conveying an atmosphere of grandeur and beauty.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: Explain the Background of this artwork, The Immaculate Conception (Tiepolo).

Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. Tiepolo's works, many of which are on an imposing scale, are also characterized by tension, exuberance, hedonism and intricate designs. Among Tiepolo's most popular works are mythological and religious themes conveying an atmosphere of grandeur and beauty.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: How does The Immaculate Conception (Tiepolo) explain its Background?

Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. Tiepolo's works, many of which are on an imposing scale, are also characterized by tension, exuberance, hedonism and intricate designs. Among Tiepolo's most popular works are mythological and religious themes conveying an atmosphere of grandeur and beauty.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: In The Immaculate Conception (Tiepolo), how is the Background discussed?

Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. Tiepolo's works, many of which are on an imposing scale, are also characterized by tension, exuberance, hedonism and intricate designs. Among Tiepolo's most popular works are mythological and religious themes conveying an atmosphere of grandeur and beauty.

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception


The Immaculate Conception (Tiepolo)

Prompt: Focus on The Immaculate Conception (Tiepolo) and explain the Provenance.

Church of S. Pascual Baylon, Aranjuez (1770–1775)Convent of S. Pascual Baylon, Aranjuez (1775–1827)Museo del Prado, Madrid (from 1827)

File:Giovanni Battista Tiepolo - Allegory of the Immaculate Conception - NGI.353.jpg

Category:Paintings of Michael (archangel)

Category:Paintings by Giovanni Battista Tiepolo

File:Giovan battista tiepolo, bozzetti per la chiesa di san pascual baylon ad aranjuez, 1767, 01.JPG

Confraternities of the Cord#Archconfraternity of the Cord of St. Francis

Virgin and Child (after van der Goes?)#Inscription

''Allegory of the Immaculate Conception'', {{circa

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings of the Immaculate Conception