Battle of Grunwald (Matejko)

Prompt: How does Battle of Grunwald (Matejko) explain its Composition?

The Battle of Grunwald is a painting by Matejko that portrays events from the history of Poland and Lithuania, the Grand Duchy of Lithuania and the struggles of Eastern European principalities against Teutonic knights in general. In the center of the painting is the Lithuanian grand duke Vytautas the Great, dressed in red with a raised sword. Vytautas holds a more prominent position in the painting than his cousin, Polish king Władysław Jagiełło (Jogaila), who is visible in the second plan, mounted, in the top right side. According to Scales and Zimmer, by focusing on Vytautas rather than Jagiełło, Matejko stressed the importance of Lithuania for Poland, and the value of cooperation between the two countries in the Polish–Lithuanian union. Others have noted that this placement likely was influenced by Matejko's reliance on the writings of Jan Długosz, who attributed greater importance to Vytautas than to Jagiełło, who, by some Polish sources, commanded the battle. While Lithuanian sources claim that Vytautas The Great have got the very major role in the battle by actually commanding troops and performing the decisive feigned retreat manoeuvre. In the skies above the carnage, Saint Stanislaus, a patron of Poland, overlooks the fighting.Another central scene depicts the death of the Grand Master of the Teutonic Order, Ulrich von Jungingen. Dressed in white Order garb and riding a white horse, von Jungingen is being killed by two anonymous figures, which historian of art Danuta Batorska identifies as "savage looking Lithuanian peasants". One of them wields a Saint Maurice Spear (one of the objects with the claim to be the Spear of Destiny), which according to historian of art Jarosław Krawczyk implies that Matejko saw Jungingen's death as a retribution for taking arms against another Christian ruler. Next to the spearman is an executioner, who symbolizes the punishment Jungingen receives for the Order raids and pillages against the common folk. Those symbolic figures are one of many liberal interpretation that Matejko took with his painting; furthermore, modern scholarship indicates that he died in a cavalry duel, and not at the hands of a peasant.Other notable figures depicted in the painting include:Marcin of Wrocimowice, Polish knight, is holding the Polish banner in the center, next to Vytautas;Zyndram of Maszkowice, another Polish knight, is holding a sword over von Jungingen's head;Mikołaj Skunarowski (also known as Skunaczewski) is another Polish knight, standing  next to Zyndram; after the battle he would be sent with the capture standard to Kraków, as a symbol of victory;Werner von Tettingen, German knight and one of the Teutonic Order's leaders, witnesses his leader's death from the left side of the painting;near von Tettingen, Casimir V, Duke of Pomerania, an ally of the Order, is taken prisoner by the knight Jakub Skarbek z Góry and his squire;at the bottom, Konrad VII the White is taken prisoner, and Kuno von Lichtenstein is dying. Matejko portrayed Konrad as a traitor, whereas German knight von Lichtenstein is shown dying with honor;to the right, Jan Žižka, a Czech ally of Poland, is killing a German knight Heinrich von Schwelborn;next to Žižka, Zawisza Czarny is taking down another German knight;to the right of Zawisza, in a shining steel helmet, is another Polish knight, Domarat Grzymalczyk  of Kobylany, later a castellan of Lublin;German knight Marquard von Salzbach is captured by a wild looking warrior identified as a Tatar or a Cossack;another German knight is clutching von Salzbach's garb, this is Johan von Wenden;future Grand Master Heinrich von Plauen is to the right of the painting as well, escaping to organize the defense of the remains of the Order's territory;behind von Plauen is a figure Matejko identified as Krzysztof, bishop of Lübeck. Modern historians have however failed to associate this figure with any historical person, noting that there was no bishop of this or similar time at contemporary Lübeck;to the right of von Plauen is a Polish knight and dignitary Jan Długosz of Niedzielsk, father of the chronicler Jan Długosz;future cardinal Zbigniew Oleśnicki is shown as one of Jagiełło's advisers. Near Władysław are also: his relative, Zygmunt Korybut, Deputy Chancellor of the Crown, Mikołaj Trąba, Siemowit IV, Duke of Masovia. On the ground under Oleśnicki is the body of the German knight Dippold Kikeritz who tried to charge Jagiełło, but was felled by his entourage.Matejko combined three key parts of the battle into one tableau: an opportunistic attack by German knight Kökeritz on Jagiełło, the death of the Grand Master, and the taking of the Teutonic camp (in the top left corner). Unlike many other paintings of battles, the Battle of Grunwald does not separate the viewer from the action; instead it places him at the center of it. Matejko said he felt like a "possessed man" while he made the painting.Matejko based the painting in part on a description of the battle in Długosz' chronicles, which accounts for several historical inaccuracies. At the same time, he was meticulous about correctly depicting the terrain of the battle, having visited the site of the conflict in 1877.

Category:Paintings in the National Museum, Warsaw

File:Gallery of 19th-Century Polish Art in the Sukiennice, 2022, 07.jpg

''Prussian Homage''. National Museum in Kraków

Society for the Encouragement of Fine Arts

File:Bitwa pod Grunwaldem Muzeum Narodowe 05.JPG

physical destruction of all artifacts of Polish culture

''The Battle of Grunwald'' displayed in the National Museum in Warsaw


Battle of Grunwald (Matejko)

Prompt: In Battle of Grunwald (Matejko), how is the Composition discussed?

The Battle of Grunwald is a painting by Matejko that portrays events from the history of Poland and Lithuania, the Grand Duchy of Lithuania and the struggles of Eastern European principalities against Teutonic knights in general. In the center of the painting is the Lithuanian grand duke Vytautas the Great, dressed in red with a raised sword. Vytautas holds a more prominent position in the painting than his cousin, Polish king Władysław Jagiełło (Jogaila), who is visible in the second plan, mounted, in the top right side. According to Scales and Zimmer, by focusing on Vytautas rather than Jagiełło, Matejko stressed the importance of Lithuania for Poland, and the value of cooperation between the two countries in the Polish–Lithuanian union. Others have noted that this placement likely was influenced by Matejko's reliance on the writings of Jan Długosz, who attributed greater importance to Vytautas than to Jagiełło, who, by some Polish sources, commanded the battle. While Lithuanian sources claim that Vytautas The Great have got the very major role in the battle by actually commanding troops and performing the decisive feigned retreat manoeuvre. In the skies above the carnage, Saint Stanislaus, a patron of Poland, overlooks the fighting.Another central scene depicts the death of the Grand Master of the Teutonic Order, Ulrich von Jungingen. Dressed in white Order garb and riding a white horse, von Jungingen is being killed by two anonymous figures, which historian of art Danuta Batorska identifies as "savage looking Lithuanian peasants". One of them wields a Saint Maurice Spear (one of the objects with the claim to be the Spear of Destiny), which according to historian of art Jarosław Krawczyk implies that Matejko saw Jungingen's death as a retribution for taking arms against another Christian ruler. Next to the spearman is an executioner, who symbolizes the punishment Jungingen receives for the Order raids and pillages against the common folk. Those symbolic figures are one of many liberal interpretation that Matejko took with his painting; furthermore, modern scholarship indicates that he died in a cavalry duel, and not at the hands of a peasant.Other notable figures depicted in the painting include:Marcin of Wrocimowice, Polish knight, is holding the Polish banner in the center, next to Vytautas;Zyndram of Maszkowice, another Polish knight, is holding a sword over von Jungingen's head;Mikołaj Skunarowski (also known as Skunaczewski) is another Polish knight, standing  next to Zyndram; after the battle he would be sent with the capture standard to Kraków, as a symbol of victory;Werner von Tettingen, German knight and one of the Teutonic Order's leaders, witnesses his leader's death from the left side of the painting;near von Tettingen, Casimir V, Duke of Pomerania, an ally of the Order, is taken prisoner by the knight Jakub Skarbek z Góry and his squire;at the bottom, Konrad VII the White is taken prisoner, and Kuno von Lichtenstein is dying. Matejko portrayed Konrad as a traitor, whereas German knight von Lichtenstein is shown dying with honor;to the right, Jan Žižka, a Czech ally of Poland, is killing a German knight Heinrich von Schwelborn;next to Žižka, Zawisza Czarny is taking down another German knight;to the right of Zawisza, in a shining steel helmet, is another Polish knight, Domarat Grzymalczyk  of Kobylany, later a castellan of Lublin;German knight Marquard von Salzbach is captured by a wild looking warrior identified as a Tatar or a Cossack;another German knight is clutching von Salzbach's garb, this is Johan von Wenden;future Grand Master Heinrich von Plauen is to the right of the painting as well, escaping to organize the defense of the remains of the Order's territory;behind von Plauen is a figure Matejko identified as Krzysztof, bishop of Lübeck. Modern historians have however failed to associate this figure with any historical person, noting that there was no bishop of this or similar time at contemporary Lübeck;to the right of von Plauen is a Polish knight and dignitary Jan Długosz of Niedzielsk, father of the chronicler Jan Długosz;future cardinal Zbigniew Oleśnicki is shown as one of Jagiełło's advisers. Near Władysław are also: his relative, Zygmunt Korybut, Deputy Chancellor of the Crown, Mikołaj Trąba, Siemowit IV, Duke of Masovia. On the ground under Oleśnicki is the body of the German knight Dippold Kikeritz who tried to charge Jagiełło, but was felled by his entourage.Matejko combined three key parts of the battle into one tableau: an opportunistic attack by German knight Kökeritz on Jagiełło, the death of the Grand Master, and the taking of the Teutonic camp (in the top left corner). Unlike many other paintings of battles, the Battle of Grunwald does not separate the viewer from the action; instead it places him at the center of it. Matejko said he felt like a "possessed man" while he made the painting.Matejko based the painting in part on a description of the battle in Długosz' chronicles, which accounts for several historical inaccuracies. At the same time, he was meticulous about correctly depicting the terrain of the battle, having visited the site of the conflict in 1877.

Category:Paintings in the National Museum, Warsaw

File:Gallery of 19th-Century Polish Art in the Sukiennice, 2022, 07.jpg

''Prussian Homage''. National Museum in Kraków

Society for the Encouragement of Fine Arts

File:Bitwa pod Grunwaldem Muzeum Narodowe 05.JPG

physical destruction of all artifacts of Polish culture

''The Battle of Grunwald'' displayed in the National Museum in Warsaw


Battle of Grunwald (Matejko)

Prompt: Focus on Battle of Grunwald (Matejko) and explain the Significance.

The painting has been called a masterpiece depiction of a battle scene, and much more than a simple depiction of a bloody battle. It is a complex picture, requiring more than a cursory look; a French critic, viewing it in Paris in 1879, declared that it was a museum in its own right, requiring eight days of study before one could properly appreciate it. At the same time, critics have pointed to the unrealistic depiction of the battle, and some anachronistic accessories present in the painting. Others have criticized the painting for being too crowded and chaotic.The painting can be seen as Matejko's warning to Otto von Bismarck, whose Germanization policies (Kulturkampf) targeted Polish culture, reminding him of the Polish victory over the Teutons. Overall, the painting was intended to raise the spirits of the Polish people during the period when Poland had been partitioned and no longer existed as an independent state.The painting, one of Matejko's most recognizable works and one of the best known paintings in Poland, likely has contributed to the popular image of the battle of Grunwald, and its enduring fame in Polish consciousness. The painting inspired Stanisław Wyspiański, who mentioned it in several of his works.

Category:Paintings in the National Museum, Warsaw

File:Gallery of 19th-Century Polish Art in the Sukiennice, 2022, 07.jpg

''Prussian Homage''. National Museum in Kraków

Society for the Encouragement of Fine Arts

File:Bitwa pod Grunwaldem Muzeum Narodowe 05.JPG

physical destruction of all artifacts of Polish culture

''The Battle of Grunwald'' displayed in the National Museum in Warsaw


Battle of Grunwald (Matejko)

Prompt: Explain the Significance of this artwork, Battle of Grunwald (Matejko).

The painting has been called a masterpiece depiction of a battle scene, and much more than a simple depiction of a bloody battle. It is a complex picture, requiring more than a cursory look; a French critic, viewing it in Paris in 1879, declared that it was a museum in its own right, requiring eight days of study before one could properly appreciate it. At the same time, critics have pointed to the unrealistic depiction of the battle, and some anachronistic accessories present in the painting. Others have criticized the painting for being too crowded and chaotic.The painting can be seen as Matejko's warning to Otto von Bismarck, whose Germanization policies (Kulturkampf) targeted Polish culture, reminding him of the Polish victory over the Teutons. Overall, the painting was intended to raise the spirits of the Polish people during the period when Poland had been partitioned and no longer existed as an independent state.The painting, one of Matejko's most recognizable works and one of the best known paintings in Poland, likely has contributed to the popular image of the battle of Grunwald, and its enduring fame in Polish consciousness. The painting inspired Stanisław Wyspiański, who mentioned it in several of his works.

Category:Paintings in the National Museum, Warsaw

File:Gallery of 19th-Century Polish Art in the Sukiennice, 2022, 07.jpg

''Prussian Homage''. National Museum in Kraków

Society for the Encouragement of Fine Arts

File:Bitwa pod Grunwaldem Muzeum Narodowe 05.JPG

physical destruction of all artifacts of Polish culture

''The Battle of Grunwald'' displayed in the National Museum in Warsaw


Battle of Grunwald (Matejko)

Prompt: How does Battle of Grunwald (Matejko) explain its Significance?

The painting has been called a masterpiece depiction of a battle scene, and much more than a simple depiction of a bloody battle. It is a complex picture, requiring more than a cursory look; a French critic, viewing it in Paris in 1879, declared that it was a museum in its own right, requiring eight days of study before one could properly appreciate it. At the same time, critics have pointed to the unrealistic depiction of the battle, and some anachronistic accessories present in the painting. Others have criticized the painting for being too crowded and chaotic.The painting can be seen as Matejko's warning to Otto von Bismarck, whose Germanization policies (Kulturkampf) targeted Polish culture, reminding him of the Polish victory over the Teutons. Overall, the painting was intended to raise the spirits of the Polish people during the period when Poland had been partitioned and no longer existed as an independent state.The painting, one of Matejko's most recognizable works and one of the best known paintings in Poland, likely has contributed to the popular image of the battle of Grunwald, and its enduring fame in Polish consciousness. The painting inspired Stanisław Wyspiański, who mentioned it in several of his works.

Category:Paintings in the National Museum, Warsaw

File:Gallery of 19th-Century Polish Art in the Sukiennice, 2022, 07.jpg

''Prussian Homage''. National Museum in Kraków

Society for the Encouragement of Fine Arts

File:Bitwa pod Grunwaldem Muzeum Narodowe 05.JPG

physical destruction of all artifacts of Polish culture

''The Battle of Grunwald'' displayed in the National Museum in Warsaw


Battle of Grunwald (Matejko)

Prompt: In Battle of Grunwald (Matejko), how is the Significance discussed?

The painting has been called a masterpiece depiction of a battle scene, and much more than a simple depiction of a bloody battle. It is a complex picture, requiring more than a cursory look; a French critic, viewing it in Paris in 1879, declared that it was a museum in its own right, requiring eight days of study before one could properly appreciate it. At the same time, critics have pointed to the unrealistic depiction of the battle, and some anachronistic accessories present in the painting. Others have criticized the painting for being too crowded and chaotic.The painting can be seen as Matejko's warning to Otto von Bismarck, whose Germanization policies (Kulturkampf) targeted Polish culture, reminding him of the Polish victory over the Teutons. Overall, the painting was intended to raise the spirits of the Polish people during the period when Poland had been partitioned and no longer existed as an independent state.The painting, one of Matejko's most recognizable works and one of the best known paintings in Poland, likely has contributed to the popular image of the battle of Grunwald, and its enduring fame in Polish consciousness. The painting inspired Stanisław Wyspiański, who mentioned it in several of his works.

Category:Paintings in the National Museum, Warsaw

File:Gallery of 19th-Century Polish Art in the Sukiennice, 2022, 07.jpg

''Prussian Homage''. National Museum in Kraków

Society for the Encouragement of Fine Arts

File:Bitwa pod Grunwaldem Muzeum Narodowe 05.JPG

physical destruction of all artifacts of Polish culture

''The Battle of Grunwald'' displayed in the National Museum in Warsaw


Vollard Suite

Prompt: Focus on Vollard Suite and explain the abstract.

The Vollard Suite is a set of 100 etchings in the neoclassical style by the Spanish artist Pablo Picasso, produced from 1930 to 1937. Named after the art dealer who commissioned them, Ambroise Vollard (1866–1939), the suite is in a number of museums. More than 300 sets were created.An earlier Vollard Suite was commissioned from Paul Gauguin in 1898–99, a smaller group in woodcut and monotype, which Vollard did not like.

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: Explain the abstract of this artwork, Vollard Suite.

The Vollard Suite is a set of 100 etchings in the neoclassical style by the Spanish artist Pablo Picasso, produced from 1930 to 1937. Named after the art dealer who commissioned them, Ambroise Vollard (1866–1939), the suite is in a number of museums. More than 300 sets were created.An earlier Vollard Suite was commissioned from Paul Gauguin in 1898–99, a smaller group in woodcut and monotype, which Vollard did not like.

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: How does Vollard Suite explain its abstract?

The Vollard Suite is a set of 100 etchings in the neoclassical style by the Spanish artist Pablo Picasso, produced from 1930 to 1937. Named after the art dealer who commissioned them, Ambroise Vollard (1866–1939), the suite is in a number of museums. More than 300 sets were created.An earlier Vollard Suite was commissioned from Paul Gauguin in 1898–99, a smaller group in woodcut and monotype, which Vollard did not like.

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: In Vollard Suite, how is the abstract discussed?

The Vollard Suite is a set of 100 etchings in the neoclassical style by the Spanish artist Pablo Picasso, produced from 1930 to 1937. Named after the art dealer who commissioned them, Ambroise Vollard (1866–1939), the suite is in a number of museums. More than 300 sets were created.An earlier Vollard Suite was commissioned from Paul Gauguin in 1898–99, a smaller group in woodcut and monotype, which Vollard did not like.

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: Focus on Vollard Suite and explain the History.

In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cézanne.Picasso worked extensively on the set in the spring of 1933, and completed the suite in 1937. It took a further two years for the printmaker Roger Lacourière to finish printing the first 230 sets of the series, but the death of Vollard in 1939 and the Second World War meant that the sets only started coming onto the art market in the 1950s. The completed edition consisted of 250 copies on Montval paper watermarked "Vollard" or "Picasso", fifty copies on Montval paper watermarked "Papeterie Montgolfier à Montval", and three copies on parchment, hand-signed.A 1971 exhibition of the suite in Madrid was attacked by a paramilitary group, the Guerrilleros de Cristo Rey (Warriors of Christ the King) who tore the pictures and poured acid over the prints. The group attacked things associated with Spanish exiles like Picasso who aligned themselves with the Republican cause in the Spanish Civil War.A spinning residential building in Brazil was named Suite Vollard after the suite.More than 300 sets were created, but many were broken up and the prints sold separately. A complete set is owned by the National Gallery of Australia and a complete set was acquired by the British Museum in 2011 after a donation of £1 million from financier Hamish Parker, a director of Mondrian Investment Partners. The donation was in memory of Parker's father, Major Horace Parker. It had been the British Museum's ambition to own the set and the acquisition was described by the museum's director, Neil MacGregor, as "one of the institution's most important acquisitions of the past 50 years".

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: Explain the History of this artwork, Vollard Suite.

In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cézanne.Picasso worked extensively on the set in the spring of 1933, and completed the suite in 1937. It took a further two years for the printmaker Roger Lacourière to finish printing the first 230 sets of the series, but the death of Vollard in 1939 and the Second World War meant that the sets only started coming onto the art market in the 1950s. The completed edition consisted of 250 copies on Montval paper watermarked "Vollard" or "Picasso", fifty copies on Montval paper watermarked "Papeterie Montgolfier à Montval", and three copies on parchment, hand-signed.A 1971 exhibition of the suite in Madrid was attacked by a paramilitary group, the Guerrilleros de Cristo Rey (Warriors of Christ the King) who tore the pictures and poured acid over the prints. The group attacked things associated with Spanish exiles like Picasso who aligned themselves with the Republican cause in the Spanish Civil War.A spinning residential building in Brazil was named Suite Vollard after the suite.More than 300 sets were created, but many were broken up and the prints sold separately. A complete set is owned by the National Gallery of Australia and a complete set was acquired by the British Museum in 2011 after a donation of £1 million from financier Hamish Parker, a director of Mondrian Investment Partners. The donation was in memory of Parker's father, Major Horace Parker. It had been the British Museum's ambition to own the set and the acquisition was described by the museum's director, Neil MacGregor, as "one of the institution's most important acquisitions of the past 50 years".

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: How does Vollard Suite explain its History?

In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cézanne.Picasso worked extensively on the set in the spring of 1933, and completed the suite in 1937. It took a further two years for the printmaker Roger Lacourière to finish printing the first 230 sets of the series, but the death of Vollard in 1939 and the Second World War meant that the sets only started coming onto the art market in the 1950s. The completed edition consisted of 250 copies on Montval paper watermarked "Vollard" or "Picasso", fifty copies on Montval paper watermarked "Papeterie Montgolfier à Montval", and three copies on parchment, hand-signed.A 1971 exhibition of the suite in Madrid was attacked by a paramilitary group, the Guerrilleros de Cristo Rey (Warriors of Christ the King) who tore the pictures and poured acid over the prints. The group attacked things associated with Spanish exiles like Picasso who aligned themselves with the Republican cause in the Spanish Civil War.A spinning residential building in Brazil was named Suite Vollard after the suite.More than 300 sets were created, but many were broken up and the prints sold separately. A complete set is owned by the National Gallery of Australia and a complete set was acquired by the British Museum in 2011 after a donation of £1 million from financier Hamish Parker, a director of Mondrian Investment Partners. The donation was in memory of Parker's father, Major Horace Parker. It had been the British Museum's ambition to own the set and the acquisition was described by the museum's director, Neil MacGregor, as "one of the institution's most important acquisitions of the past 50 years".

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: In Vollard Suite, how is the History discussed?

In 1930 Picasso was commissioned to produce the etchings by the art dealer and publisher Ambroise Vollard in exchange for paintings by Pierre-Auguste Renoir and Paul Cézanne.Picasso worked extensively on the set in the spring of 1933, and completed the suite in 1937. It took a further two years for the printmaker Roger Lacourière to finish printing the first 230 sets of the series, but the death of Vollard in 1939 and the Second World War meant that the sets only started coming onto the art market in the 1950s. The completed edition consisted of 250 copies on Montval paper watermarked "Vollard" or "Picasso", fifty copies on Montval paper watermarked "Papeterie Montgolfier à Montval", and three copies on parchment, hand-signed.A 1971 exhibition of the suite in Madrid was attacked by a paramilitary group, the Guerrilleros de Cristo Rey (Warriors of Christ the King) who tore the pictures and poured acid over the prints. The group attacked things associated with Spanish exiles like Picasso who aligned themselves with the Republican cause in the Spanish Civil War.A spinning residential building in Brazil was named Suite Vollard after the suite.More than 300 sets were created, but many were broken up and the prints sold separately. A complete set is owned by the National Gallery of Australia and a complete set was acquired by the British Museum in 2011 after a donation of £1 million from financier Hamish Parker, a director of Mondrian Investment Partners. The donation was in memory of Parker's father, Major Horace Parker. It had been the British Museum's ambition to own the set and the acquisition was described by the museum's director, Neil MacGregor, as "one of the institution's most important acquisitions of the past 50 years".

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: Focus on Vollard Suite and explain the The series.

The works are not based on a literary source, and are not titled, although according to the Fundación Juan March, "Some of the themes have a remote origin in Honoré de Balzac's short story Le Chef-d'œuvre inconnu (The Unknown Masterpiece, 1831), which greatly impressed Picasso. It tells the story of a painter's efforts to capture life itself on canvas through the means of feminine beauty". The works are inscribed by Picasso with the year month and day that he drew the image. Writing in the Daily Telegraph Richard Dorment claims that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe...In the years Picasso worked on the series, fascism spread through Europe, and civil war erupted in Spain. These anxieties also found their way into the Vollard Suite, so that by the time you reach the end of the show and the last images of the blind minotaur, you feel that you are in a different emotional universe from the sunlit arcadia you encountered at the show's beginning".The suite begins with prints exploring the theme of the sculptor's studio, Picasso's mistress, Marie-Thérèse Walter, is portrayed as a model lying in the arms of a bearded sculptor. Picasso had recently been inspired by Marie-Thérèse to create a series of monumental bronze heads in the neoclassical style. Picasso had also recently been commissioned by the publisher Albert Skira in 1928 to create original intaglio prints for his translation of Ovid's Metamorphoses, which appeared in 1931.Dorment comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse. The final three prints from the suite are portraits of Vollard.Picasso learned new techniques of etching during the suite, from relatively simple line etchings, through burin, dry point, aquatinting and sugar aquatinting learnt through Roger Lacourière in his workshop, this enabled him to achieve more painterly effects.  Most of the prints were completed to Picasso's satisfaction in a single state, but others, especially the erotic compositions, exist in several states, fourteen in one case.

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: Explain the The series of this artwork, Vollard Suite.

The works are not based on a literary source, and are not titled, although according to the Fundación Juan March, "Some of the themes have a remote origin in Honoré de Balzac's short story Le Chef-d'œuvre inconnu (The Unknown Masterpiece, 1831), which greatly impressed Picasso. It tells the story of a painter's efforts to capture life itself on canvas through the means of feminine beauty". The works are inscribed by Picasso with the year month and day that he drew the image. Writing in the Daily Telegraph Richard Dorment claims that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe...In the years Picasso worked on the series, fascism spread through Europe, and civil war erupted in Spain. These anxieties also found their way into the Vollard Suite, so that by the time you reach the end of the show and the last images of the blind minotaur, you feel that you are in a different emotional universe from the sunlit arcadia you encountered at the show's beginning".The suite begins with prints exploring the theme of the sculptor's studio, Picasso's mistress, Marie-Thérèse Walter, is portrayed as a model lying in the arms of a bearded sculptor. Picasso had recently been inspired by Marie-Thérèse to create a series of monumental bronze heads in the neoclassical style. Picasso had also recently been commissioned by the publisher Albert Skira in 1928 to create original intaglio prints for his translation of Ovid's Metamorphoses, which appeared in 1931.Dorment comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse. The final three prints from the suite are portraits of Vollard.Picasso learned new techniques of etching during the suite, from relatively simple line etchings, through burin, dry point, aquatinting and sugar aquatinting learnt through Roger Lacourière in his workshop, this enabled him to achieve more painterly effects.  Most of the prints were completed to Picasso's satisfaction in a single state, but others, especially the erotic compositions, exist in several states, fourteen in one case.

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: How does Vollard Suite explain its The series?

The works are not based on a literary source, and are not titled, although according to the Fundación Juan March, "Some of the themes have a remote origin in Honoré de Balzac's short story Le Chef-d'œuvre inconnu (The Unknown Masterpiece, 1831), which greatly impressed Picasso. It tells the story of a painter's efforts to capture life itself on canvas through the means of feminine beauty". The works are inscribed by Picasso with the year month and day that he drew the image. Writing in the Daily Telegraph Richard Dorment claims that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe...In the years Picasso worked on the series, fascism spread through Europe, and civil war erupted in Spain. These anxieties also found their way into the Vollard Suite, so that by the time you reach the end of the show and the last images of the blind minotaur, you feel that you are in a different emotional universe from the sunlit arcadia you encountered at the show's beginning".The suite begins with prints exploring the theme of the sculptor's studio, Picasso's mistress, Marie-Thérèse Walter, is portrayed as a model lying in the arms of a bearded sculptor. Picasso had recently been inspired by Marie-Thérèse to create a series of monumental bronze heads in the neoclassical style. Picasso had also recently been commissioned by the publisher Albert Skira in 1928 to create original intaglio prints for his translation of Ovid's Metamorphoses, which appeared in 1931.Dorment comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse. The final three prints from the suite are portraits of Vollard.Picasso learned new techniques of etching during the suite, from relatively simple line etchings, through burin, dry point, aquatinting and sugar aquatinting learnt through Roger Lacourière in his workshop, this enabled him to achieve more painterly effects.  Most of the prints were completed to Picasso's satisfaction in a single state, but others, especially the erotic compositions, exist in several states, fourteen in one case.

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: In Vollard Suite, how is the The series discussed?

The works are not based on a literary source, and are not titled, although according to the Fundación Juan March, "Some of the themes have a remote origin in Honoré de Balzac's short story Le Chef-d'œuvre inconnu (The Unknown Masterpiece, 1831), which greatly impressed Picasso. It tells the story of a painter's efforts to capture life itself on canvas through the means of feminine beauty". The works are inscribed by Picasso with the year month and day that he drew the image. Writing in the Daily Telegraph Richard Dorment claims that as Picasso took such a long time to create the suite, "the imagery and the emotional register of the prints constantly shifts to reflect Picasso's erotic and artistic obsessions, marital vicissitudes, and the darkening political situation in Europe...In the years Picasso worked on the series, fascism spread through Europe, and civil war erupted in Spain. These anxieties also found their way into the Vollard Suite, so that by the time you reach the end of the show and the last images of the blind minotaur, you feel that you are in a different emotional universe from the sunlit arcadia you encountered at the show's beginning".The suite begins with prints exploring the theme of the sculptor's studio, Picasso's mistress, Marie-Thérèse Walter, is portrayed as a model lying in the arms of a bearded sculptor. Picasso had recently been inspired by Marie-Thérèse to create a series of monumental bronze heads in the neoclassical style. Picasso had also recently been commissioned by the publisher Albert Skira in 1928 to create original intaglio prints for his translation of Ovid's Metamorphoses, which appeared in 1931.Dorment comments that a minotaur appears, joining in scenes of bacchic excess, but the minotaur is transformed from a gentle lover and bon vivant into a rapist and devourer of women, reflecting Picasso's turbulent relationships with Marie-Thérèse and his wife Olga. In a third transformation, the minotaur becomes pathetic, blind and impotent, he wanders by night, led by a little girl with the features of Marie-Thérèse. The final three prints from the suite are portraits of Vollard.Picasso learned new techniques of etching during the suite, from relatively simple line etchings, through burin, dry point, aquatinting and sugar aquatinting learnt through Roger Lacourière in his workshop, this enabled him to achieve more painterly effects.  Most of the prints were completed to Picasso's satisfaction in a single state, but others, especially the erotic compositions, exist in several states, fourteen in one case.

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: Focus on Vollard Suite and explain the Collections with complete sets.

Bibliothèque nationale de France, département des EstampesBritish MuseumColby College Museum of ArtFundación MAPFRE, MadridHarry Ransom CenterHood Museum of Art, Hanover, New HampshireKunstmuseum Pablo Picasso MünsterModern Art Museum of Fort WorthMuseum Ludwig, CologneMuseo de Arte Contemporáneo de Caracas (MACC)National Gallery of AustraliaNational Gallery of CanadaPhiladelphia Museum of Art

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: Explain the Collections with complete sets of this artwork, Vollard Suite.

Bibliothèque nationale de France, département des EstampesBritish MuseumColby College Museum of ArtFundación MAPFRE, MadridHarry Ransom CenterHood Museum of Art, Hanover, New HampshireKunstmuseum Pablo Picasso MünsterModern Art Museum of Fort WorthMuseum Ludwig, CologneMuseo de Arte Contemporáneo de Caracas (MACC)National Gallery of AustraliaNational Gallery of CanadaPhiladelphia Museum of Art

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: How does Vollard Suite explain its Collections with complete sets?

Bibliothèque nationale de France, département des EstampesBritish MuseumColby College Museum of ArtFundación MAPFRE, MadridHarry Ransom CenterHood Museum of Art, Hanover, New HampshireKunstmuseum Pablo Picasso MünsterModern Art Museum of Fort WorthMuseum Ludwig, CologneMuseo de Arte Contemporáneo de Caracas (MACC)National Gallery of AustraliaNational Gallery of CanadaPhiladelphia Museum of Art

Category:Prints and drawings in the British Museum


Vollard Suite

Prompt: In Vollard Suite, how is the Collections with complete sets discussed?

Bibliothèque nationale de France, département des EstampesBritish MuseumColby College Museum of ArtFundación MAPFRE, MadridHarry Ransom CenterHood Museum of Art, Hanover, New HampshireKunstmuseum Pablo Picasso MünsterModern Art Museum of Fort WorthMuseum Ludwig, CologneMuseo de Arte Contemporáneo de Caracas (MACC)National Gallery of AustraliaNational Gallery of CanadaPhiladelphia Museum of Art

Category:Prints and drawings in the British Museum


A Man with a Quilted Sleeve

Prompt: Focus on A Man with a Quilted Sleeve and explain the abstract.

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring 81.2 by 66.3 centimetres (32.0 in × 26.1 in). Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter.  It was long thought to be a portrait of Ariosto, then a self-portrait, but since 2017 has been called Portrait of Gerolamo (?) Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants.Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice.  According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits (which may not represent individuals who commissioned the painting) but shows the personality and "physical assurance" of his sitter with new force and realism.  To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting (or a copy) in Amsterdam.  Soon after, it apparently moved to England via France.  It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Explain the abstract of this artwork, A Man with a Quilted Sleeve.

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring 81.2 by 66.3 centimetres (32.0 in × 26.1 in). Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter.  It was long thought to be a portrait of Ariosto, then a self-portrait, but since 2017 has been called Portrait of Gerolamo (?) Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants.Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice.  According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits (which may not represent individuals who commissioned the painting) but shows the personality and "physical assurance" of his sitter with new force and realism.  To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting (or a copy) in Amsterdam.  Soon after, it apparently moved to England via France.  It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: How does A Man with a Quilted Sleeve explain its abstract?

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring 81.2 by 66.3 centimetres (32.0 in × 26.1 in). Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter.  It was long thought to be a portrait of Ariosto, then a self-portrait, but since 2017 has been called Portrait of Gerolamo (?) Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants.Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice.  According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits (which may not represent individuals who commissioned the painting) but shows the personality and "physical assurance" of his sitter with new force and realism.  To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting (or a copy) in Amsterdam.  Soon after, it apparently moved to England via France.  It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: In A Man with a Quilted Sleeve, how is the abstract discussed?

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring 81.2 by 66.3 centimetres (32.0 in × 26.1 in). Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter.  It was long thought to be a portrait of Ariosto, then a self-portrait, but since 2017 has been called Portrait of Gerolamo (?) Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants.Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice.  According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits (which may not represent individuals who commissioned the painting) but shows the personality and "physical assurance" of his sitter with new force and realism.  To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting (or a copy) in Amsterdam.  Soon after, it apparently moved to England via France.  It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Focus on A Man with a Quilted Sleeve and explain the Attribution, date and condition.

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials (his name was  "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona.  Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Explain the Attribution, date and condition of this artwork, A Man with a Quilted Sleeve.

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials (his name was  "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona.  Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: How does A Man with a Quilted Sleeve explain its Attribution, date and condition?

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials (his name was  "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona.  Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: In A Man with a Quilted Sleeve, how is the Attribution, date and condition discussed?

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as La Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials (his name was  "Tiziano Vecellio"), though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's La Schiavona.  Various moral mottos, such as "virtus vincit (omnia)" ("virtue conquers all") have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Focus on A Man with a Quilted Sleeve and explain the Identity of sitter.

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21).  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Explain the Identity of sitter of this artwork, A Man with a Quilted Sleeve.

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21).  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: How does A Man with a Quilted Sleeve explain its Identity of sitter?

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21).  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: In A Man with a Quilted Sleeve, how is the Identity of sitter discussed?

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as (probably) one by Palma Vecchio also in the Gallery.It was first suggested in 1895 (by Jean Paul Richter) that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34 (also National Gallery) as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill (Bartsch number B21).  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg

Art Treasures Exhibition, Manchester 1857


A Man with a Quilted Sleeve

Prompt: Focus on A Man with a Quilted Sleeve and explain the Provenance.

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark (1909, £72,000) and Jan Gossaert's Adoration of the Kings (1911, £40,000) to the National Gallery.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg


A Man with a Quilted Sleeve

Prompt: Explain the Provenance of this artwork, A Man with a Quilted Sleeve.

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark (1909, £72,000) and Jan Gossaert's Adoration of the Kings (1911, £40,000) to the National Gallery.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg


A Man with a Quilted Sleeve

Prompt: How does A Man with a Quilted Sleeve explain its Provenance?

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark (1909, £72,000) and Jan Gossaert's Adoration of the Kings (1911, £40,000) to the National Gallery.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg


A Man with a Quilted Sleeve

Prompt: In A Man with a Quilted Sleeve, how is the Provenance discussed?

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark (1909, £72,000) and Jan Gossaert's Adoration of the Kings (1911, £40,000) to the National Gallery.

Titian, portrait of an unknown [[Sovereign Military Order of Malta

Category:Paintings by Titian in the National Gallery, London

s:Le vite de' più eccellenti pittori, scultori e architettori (1568)/Tiziano da Cador

File:Rembrandt, Self Portrait at the Age of 34.jpg

File:Self portrait leaning on si 373x470.jpg


Madonna della Seggiola

Prompt: Focus on Madonna della Seggiola and explain the abstract.

The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Explain the abstract of this artwork, Madonna della Seggiola.

The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: How does Madonna della Seggiola explain its abstract?

The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: In Madonna della Seggiola, how is the abstract discussed?

The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Focus on Madonna della Seggiola and explain the Description.

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: Explain the Description of this artwork, Madonna della Seggiola.

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG


Madonna della Seggiola

Prompt: How does Madonna della Seggiola explain its Description?

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Madonna-St. John (Madonna della sedia copy), c. 1825, by Raphael Morghen, engraving RP-P-OB-36.561

File:Prince Hoare the younger (1755-1834) - Madonna della sedia (copy after Raphael) - 732245 - National Trust.jpg

Sala di Saturno, Room of Saturn, at the Palazzo Pitti, 1920 ca. The Madonna della Sedia is to the left of the marble portal.

1880 copy seen next to the original Madonna della Sedia in the Room of Saturn at the Palazzo Pitti.

Ferdinando de' Medici, Grand Prince of Tuscany

Category:Paintings in the Galleria Palatina

Category:Paintings of the Madonna and Child by Raphael

File:Maria met Kind en de jonge Johannes de Doper Madonna della Seggiola Madonna della Sedia, RP-P-OB-36.561.jpg

File:Santi corsi, la sala di saturno a palazzo pitti, 1920 ca..JPG