The Allegory of Good and Bad Government

Prompt: In The Allegory of Good and Bad Government, how is the Cosmic allegories of the Allegory of Good Government explained?

In the fresco cycle Lorenzetti expresses the idea that the cause of peace lays not only from the effects of good government, but also from the citizens acting in accordance "with the temporal and astral force that governs” them. Lorenzetti expresses this idea in part with the border along the three frescos, which display medallions featuring the personifications of the planets as well as the seasons. Above the mural depicting The Effects of Good Government, these medallions follow the natural order of the seasons and alignment of the planets. In The Effects of Good Government, Lorenzetti shows the citizens completing the different labors for each of these months. The labors belonging to spring and summer are very clear; "fishing and tending to the vines (March), cultivation of the soil and planting (April), riding (May), ploughing and stock rising (June), cereal harvesting (July), threshing (August), and hunting (September)". The labors of winter and fall are also found, but they do not follow the normal conventions of the time for depicting these labors. With these depictions of the labors following with the seasons and planets, Lorenzetti creates the idea that peace is in part possible due to the citizens following in accordance to the planets and seasons. It is also hypothesized that with the depictions of citizens in different labors, Lorenzetti shows the allegorical manifestations of the children of the different planets. Upon closer analysis it is clear that Lorenzetti depicted the children who would help ensure peace, versus those who would be disruptive of it. This can be seen with the emphasis of mercantile activities that were believed to be Mercury's children. For the children of Venus, Lorenzetti chose to show a bride, weavers, and dancers, instead of depicting her more carnal children. The children of Mars, who all depend on the use of weapons, are represented by knights and guards. Saturn's children are represented by ploughmen, diggers and threshers, and excludes his other children, such as cripples. Jupiter's children are represented as hunters. With Lorenzetti emphasizing the children who would ensure peace, he drove home the importance of following activities to foster peace and not disrupt it. With both the depiction of the monthly labors and the children of the various planets, Lorenzetti shows the importance of performing the appropriate tasks in accordance to nature to ensure peace. This point is made stronger by the fact that half the seasons and plants are shown depicted over the scene of war, reminding the viewer the faulty error of not acting in accordance.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Describe the characteristics of the Cosmic allegories in The Allegory of Good and Bad Government's Allegory of Good Government.

In the fresco cycle Lorenzetti expresses the idea that the cause of peace lays not only from the effects of good government, but also from the citizens acting in accordance "with the temporal and astral force that governs” them. Lorenzetti expresses this idea in part with the border along the three frescos, which display medallions featuring the personifications of the planets as well as the seasons. Above the mural depicting The Effects of Good Government, these medallions follow the natural order of the seasons and alignment of the planets. In The Effects of Good Government, Lorenzetti shows the citizens completing the different labors for each of these months. The labors belonging to spring and summer are very clear; "fishing and tending to the vines (March), cultivation of the soil and planting (April), riding (May), ploughing and stock rising (June), cereal harvesting (July), threshing (August), and hunting (September)". The labors of winter and fall are also found, but they do not follow the normal conventions of the time for depicting these labors. With these depictions of the labors following with the seasons and planets, Lorenzetti creates the idea that peace is in part possible due to the citizens following in accordance to the planets and seasons. It is also hypothesized that with the depictions of citizens in different labors, Lorenzetti shows the allegorical manifestations of the children of the different planets. Upon closer analysis it is clear that Lorenzetti depicted the children who would help ensure peace, versus those who would be disruptive of it. This can be seen with the emphasis of mercantile activities that were believed to be Mercury's children. For the children of Venus, Lorenzetti chose to show a bride, weavers, and dancers, instead of depicting her more carnal children. The children of Mars, who all depend on the use of weapons, are represented by knights and guards. Saturn's children are represented by ploughmen, diggers and threshers, and excludes his other children, such as cripples. Jupiter's children are represented as hunters. With Lorenzetti emphasizing the children who would ensure peace, he drove home the importance of following activities to foster peace and not disrupt it. With both the depiction of the monthly labors and the children of the various planets, Lorenzetti shows the importance of performing the appropriate tasks in accordance to nature to ensure peace. This point is made stronger by the fact that half the seasons and plants are shown depicted over the scene of war, reminding the viewer the faulty error of not acting in accordance.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: In the context of The Allegory of Good and Bad Government, explain the Venus and the dancers and the Allegory of Good Government.

The ten dancers featured in the middle of The Effects of Good Government fresco are the subject of many discussions. It is believed that they are the representation of Venus's children. It was believed in Lorenzetti's day that there were two manifestations of Venus. These two sides found their forms in either the legitimate planetary deity, or as the nude goddess born of the sea. When looking at the depictions of the personifications of the other planets along the fresco borders, we see that they are seen placed in both their houses. Venus on the other hand is only placed in Taurus, her daytime house. With this careful choice, Lorenzetti legitimizes her side as a planetary goddess. This is further enforced with her modest dress, instead of being depicted nude. Her children then in turn gain the representation of chastity, matrimonial love, friendship, and sociability, all aspects that flourish during daylight hours. The movement of their dancing mimics the arm movements of Venus, and this in combination with their larger scale, creates and draw emphasis to the resounding message that peace in the city must be found in conjunction with the movements of the Heavens.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Explain the Venus and the dancers about the Allegory of Good Government of this artwork, The Allegory of Good and Bad Government.

The ten dancers featured in the middle of The Effects of Good Government fresco are the subject of many discussions. It is believed that they are the representation of Venus's children. It was believed in Lorenzetti's day that there were two manifestations of Venus. These two sides found their forms in either the legitimate planetary deity, or as the nude goddess born of the sea. When looking at the depictions of the personifications of the other planets along the fresco borders, we see that they are seen placed in both their houses. Venus on the other hand is only placed in Taurus, her daytime house. With this careful choice, Lorenzetti legitimizes her side as a planetary goddess. This is further enforced with her modest dress, instead of being depicted nude. Her children then in turn gain the representation of chastity, matrimonial love, friendship, and sociability, all aspects that flourish during daylight hours. The movement of their dancing mimics the arm movements of Venus, and this in combination with their larger scale, creates and draw emphasis to the resounding message that peace in the city must be found in conjunction with the movements of the Heavens.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: In The Allegory of Good and Bad Government, how is the Venus and the dancers of the Allegory of Good Government explained?

The ten dancers featured in the middle of The Effects of Good Government fresco are the subject of many discussions. It is believed that they are the representation of Venus's children. It was believed in Lorenzetti's day that there were two manifestations of Venus. These two sides found their forms in either the legitimate planetary deity, or as the nude goddess born of the sea. When looking at the depictions of the personifications of the other planets along the fresco borders, we see that they are seen placed in both their houses. Venus on the other hand is only placed in Taurus, her daytime house. With this careful choice, Lorenzetti legitimizes her side as a planetary goddess. This is further enforced with her modest dress, instead of being depicted nude. Her children then in turn gain the representation of chastity, matrimonial love, friendship, and sociability, all aspects that flourish during daylight hours. The movement of their dancing mimics the arm movements of Venus, and this in combination with their larger scale, creates and draw emphasis to the resounding message that peace in the city must be found in conjunction with the movements of the Heavens.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Describe the characteristics of the Venus and the dancers in The Allegory of Good and Bad Government's Allegory of Good Government.

The ten dancers featured in the middle of The Effects of Good Government fresco are the subject of many discussions. It is believed that they are the representation of Venus's children. It was believed in Lorenzetti's day that there were two manifestations of Venus. These two sides found their forms in either the legitimate planetary deity, or as the nude goddess born of the sea. When looking at the depictions of the personifications of the other planets along the fresco borders, we see that they are seen placed in both their houses. Venus on the other hand is only placed in Taurus, her daytime house. With this careful choice, Lorenzetti legitimizes her side as a planetary goddess. This is further enforced with her modest dress, instead of being depicted nude. Her children then in turn gain the representation of chastity, matrimonial love, friendship, and sociability, all aspects that flourish during daylight hours. The movement of their dancing mimics the arm movements of Venus, and this in combination with their larger scale, creates and draw emphasis to the resounding message that peace in the city must be found in conjunction with the movements of the Heavens.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: In the context of The Allegory of Good and Bad Government, explain the Perspective and the Allegory of Good Government.

When examining The Effects of Good Government, the viewer is aware of the use of a skewed perspective. The cityscape and the scale of the figures, as well as the perspective, do not seem to follow a rational scheme. There have been two hypothesizes put forward to explain this departure from a more traditional use of perspective. One hypothesis that has been formulated is that the skewed perspective comes from the fact that the mural derives its perspective from a center directly in front of the figure of Tyranny on the opposite wall. The perspective then in the depiction of good government radiates from this center, making use of a more radial perspective. The second and more popular hypothesis put forward is the idea that the perspective is derived from the gaze line of Justice. This hypothesis is supported by the fact that whereas the other virtues sit in an upright position, looking either into space or discreetly at each other, Justice's line of gaze is directed across to the corner of the room. To further support this idea photographs have been taken following her line of sight, and with these photographs the buildings and figures fall into a correct perspective. Further evidence to provide support of this idea comes with an examination of the science of optics during that time in Siena. In the time of Lorenzetti, the belief was that sight was not only the act of seeing, but of understanding as well. The word for vision meant both to see and the image that the mind created. The word light also had dual meaning, describing "both physical and spiritual illumination". When the viewer is placed into the mindset and understanding of a Sienese citizen of the day, it strengthens the argument that the perspective is from that of Justice, as her gaze then creates and illuminates this peaceful scene.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Explain the Perspective about the Allegory of Good Government of this artwork, The Allegory of Good and Bad Government.

When examining The Effects of Good Government, the viewer is aware of the use of a skewed perspective. The cityscape and the scale of the figures, as well as the perspective, do not seem to follow a rational scheme. There have been two hypothesizes put forward to explain this departure from a more traditional use of perspective. One hypothesis that has been formulated is that the skewed perspective comes from the fact that the mural derives its perspective from a center directly in front of the figure of Tyranny on the opposite wall. The perspective then in the depiction of good government radiates from this center, making use of a more radial perspective. The second and more popular hypothesis put forward is the idea that the perspective is derived from the gaze line of Justice. This hypothesis is supported by the fact that whereas the other virtues sit in an upright position, looking either into space or discreetly at each other, Justice's line of gaze is directed across to the corner of the room. To further support this idea photographs have been taken following her line of sight, and with these photographs the buildings and figures fall into a correct perspective. Further evidence to provide support of this idea comes with an examination of the science of optics during that time in Siena. In the time of Lorenzetti, the belief was that sight was not only the act of seeing, but of understanding as well. The word for vision meant both to see and the image that the mind created. The word light also had dual meaning, describing "both physical and spiritual illumination". When the viewer is placed into the mindset and understanding of a Sienese citizen of the day, it strengthens the argument that the perspective is from that of Justice, as her gaze then creates and illuminates this peaceful scene.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: In The Allegory of Good and Bad Government, how is the Perspective of the Allegory of Good Government explained?

When examining The Effects of Good Government, the viewer is aware of the use of a skewed perspective. The cityscape and the scale of the figures, as well as the perspective, do not seem to follow a rational scheme. There have been two hypothesizes put forward to explain this departure from a more traditional use of perspective. One hypothesis that has been formulated is that the skewed perspective comes from the fact that the mural derives its perspective from a center directly in front of the figure of Tyranny on the opposite wall. The perspective then in the depiction of good government radiates from this center, making use of a more radial perspective. The second and more popular hypothesis put forward is the idea that the perspective is derived from the gaze line of Justice. This hypothesis is supported by the fact that whereas the other virtues sit in an upright position, looking either into space or discreetly at each other, Justice's line of gaze is directed across to the corner of the room. To further support this idea photographs have been taken following her line of sight, and with these photographs the buildings and figures fall into a correct perspective. Further evidence to provide support of this idea comes with an examination of the science of optics during that time in Siena. In the time of Lorenzetti, the belief was that sight was not only the act of seeing, but of understanding as well. The word for vision meant both to see and the image that the mind created. The word light also had dual meaning, describing "both physical and spiritual illumination". When the viewer is placed into the mindset and understanding of a Sienese citizen of the day, it strengthens the argument that the perspective is from that of Justice, as her gaze then creates and illuminates this peaceful scene.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Describe the characteristics of the Perspective in The Allegory of Good and Bad Government's Allegory of Good Government.

When examining The Effects of Good Government, the viewer is aware of the use of a skewed perspective. The cityscape and the scale of the figures, as well as the perspective, do not seem to follow a rational scheme. There have been two hypothesizes put forward to explain this departure from a more traditional use of perspective. One hypothesis that has been formulated is that the skewed perspective comes from the fact that the mural derives its perspective from a center directly in front of the figure of Tyranny on the opposite wall. The perspective then in the depiction of good government radiates from this center, making use of a more radial perspective. The second and more popular hypothesis put forward is the idea that the perspective is derived from the gaze line of Justice. This hypothesis is supported by the fact that whereas the other virtues sit in an upright position, looking either into space or discreetly at each other, Justice's line of gaze is directed across to the corner of the room. To further support this idea photographs have been taken following her line of sight, and with these photographs the buildings and figures fall into a correct perspective. Further evidence to provide support of this idea comes with an examination of the science of optics during that time in Siena. In the time of Lorenzetti, the belief was that sight was not only the act of seeing, but of understanding as well. The word for vision meant both to see and the image that the mind created. The word light also had dual meaning, describing "both physical and spiritual illumination". When the viewer is placed into the mindset and understanding of a Sienese citizen of the day, it strengthens the argument that the perspective is from that of Justice, as her gaze then creates and illuminates this peaceful scene.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: In the context of The Allegory of Good and Bad Government, explain the Disagreements within location and the Allegory of Good Government.

The frescoes of The Effects of Good Government seem to hold one strong point of debate. Whereas some scholars strongly believe that the city depicted is supposed to represent Siena, others believe that it is supposed to be more of metaphor for the city. For both of these arguments scholars take their stance from evidence they find within the fresco. Some scholars take the depiction of the bell tower and the cathedral with its dome to show that this is indeed Siena. They argue that these are depictions of standing Sienese buildings. Others yet look to the right of the countryside depiction to the small scene of the port, which includes the name "Telamon". This inscription is very small, indeed the depiction of the port itself is small. Still though scholars look to this as proof that this scene is meant to accurately depict Siena. Other scholars look to the gate, as well as other buildings, pointing out the severe differences and departures between the fresco and reality. This evidence to them points to the fact that Lorenzetti meant to depict an ideal city, one that the comparison to Siena could not be missed, but was not to be mistaken for Siena.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Explain the Disagreements within location about the Allegory of Good Government of this artwork, The Allegory of Good and Bad Government.

The frescoes of The Effects of Good Government seem to hold one strong point of debate. Whereas some scholars strongly believe that the city depicted is supposed to represent Siena, others believe that it is supposed to be more of metaphor for the city. For both of these arguments scholars take their stance from evidence they find within the fresco. Some scholars take the depiction of the bell tower and the cathedral with its dome to show that this is indeed Siena. They argue that these are depictions of standing Sienese buildings. Others yet look to the right of the countryside depiction to the small scene of the port, which includes the name "Telamon". This inscription is very small, indeed the depiction of the port itself is small. Still though scholars look to this as proof that this scene is meant to accurately depict Siena. Other scholars look to the gate, as well as other buildings, pointing out the severe differences and departures between the fresco and reality. This evidence to them points to the fact that Lorenzetti meant to depict an ideal city, one that the comparison to Siena could not be missed, but was not to be mistaken for Siena.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: In The Allegory of Good and Bad Government, how is the Disagreements within location of the Allegory of Good Government explained?

The frescoes of The Effects of Good Government seem to hold one strong point of debate. Whereas some scholars strongly believe that the city depicted is supposed to represent Siena, others believe that it is supposed to be more of metaphor for the city. For both of these arguments scholars take their stance from evidence they find within the fresco. Some scholars take the depiction of the bell tower and the cathedral with its dome to show that this is indeed Siena. They argue that these are depictions of standing Sienese buildings. Others yet look to the right of the countryside depiction to the small scene of the port, which includes the name "Telamon". This inscription is very small, indeed the depiction of the port itself is small. Still though scholars look to this as proof that this scene is meant to accurately depict Siena. Other scholars look to the gate, as well as other buildings, pointing out the severe differences and departures between the fresco and reality. This evidence to them points to the fact that Lorenzetti meant to depict an ideal city, one that the comparison to Siena could not be missed, but was not to be mistaken for Siena.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Describe the characteristics of the Disagreements within location in The Allegory of Good and Bad Government's Allegory of Good Government.

The frescoes of The Effects of Good Government seem to hold one strong point of debate. Whereas some scholars strongly believe that the city depicted is supposed to represent Siena, others believe that it is supposed to be more of metaphor for the city. For both of these arguments scholars take their stance from evidence they find within the fresco. Some scholars take the depiction of the bell tower and the cathedral with its dome to show that this is indeed Siena. They argue that these are depictions of standing Sienese buildings. Others yet look to the right of the countryside depiction to the small scene of the port, which includes the name "Telamon". This inscription is very small, indeed the depiction of the port itself is small. Still though scholars look to this as proof that this scene is meant to accurately depict Siena. Other scholars look to the gate, as well as other buildings, pointing out the severe differences and departures between the fresco and reality. This evidence to them points to the fact that Lorenzetti meant to depict an ideal city, one that the comparison to Siena could not be missed, but was not to be mistaken for Siena.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Focus on The Allegory of Good and Bad Government and explain the The Effects of Bad Government.

Lorenzetti's The Effects of Bad Government fresco has not been written on so extensively as The Effects of Good Government has been, partly due to the worse condition of this fresco. The wall on which the fresco of The Effects of Bad Government is depicted used to be an exterior wall, so has suffered much moisture damage in the past. When viewers turn to examine this mural, they are confronted with a devious looking figure adorned with horns and fangs, and appearing to be cross-eyed. This figure is identified as Tyrammides (Tyranny), who sits enthroned, resting his feet upon a goat (symbolic of luxury) while holding a dagger.Below the tyrant the captive figure of Justice lies bound, while the figures of Cruelty, Deceit, Fraud, Fury, Division, and War flank him, and above him float the figures of Avarice, Pride, and Vainglory. These figures, according to an advice book for city magistrates of the time, were considered to be the “leading enemies of human life”. The planets of Jupiter, Saturn, and Mars preside over this scene, as they were the less favorable planets; also included are tyrannical figures such as the Roman Emperor Nero. When looking at the scene of the city itself, it appears to be very jarring; nothing fits as it should be. This is in part due to the fact that Lorenzetti presented the scene in such a manner that the viewer must read it right to left, automatically creating a sense of discomfort. When looking at the scene the city appears to be in ruin, windows are wide open, houses are being demolished, and businesses are nonexistent, except that of the armourer. The streets are deserted, and the countryside shows two armies advancing toward each other. The whole scene shows the diametrical opposite of that of The Effects of Good Government, creating a powerful reminder to the council.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: Explain the The Effects of Bad Government of this artwork, The Allegory of Good and Bad Government.

Lorenzetti's The Effects of Bad Government fresco has not been written on so extensively as The Effects of Good Government has been, partly due to the worse condition of this fresco. The wall on which the fresco of The Effects of Bad Government is depicted used to be an exterior wall, so has suffered much moisture damage in the past. When viewers turn to examine this mural, they are confronted with a devious looking figure adorned with horns and fangs, and appearing to be cross-eyed. This figure is identified as Tyrammides (Tyranny), who sits enthroned, resting his feet upon a goat (symbolic of luxury) while holding a dagger.Below the tyrant the captive figure of Justice lies bound, while the figures of Cruelty, Deceit, Fraud, Fury, Division, and War flank him, and above him float the figures of Avarice, Pride, and Vainglory. These figures, according to an advice book for city magistrates of the time, were considered to be the “leading enemies of human life”. The planets of Jupiter, Saturn, and Mars preside over this scene, as they were the less favorable planets; also included are tyrannical figures such as the Roman Emperor Nero. When looking at the scene of the city itself, it appears to be very jarring; nothing fits as it should be. This is in part due to the fact that Lorenzetti presented the scene in such a manner that the viewer must read it right to left, automatically creating a sense of discomfort. When looking at the scene the city appears to be in ruin, windows are wide open, houses are being demolished, and businesses are nonexistent, except that of the armourer. The streets are deserted, and the countryside shows two armies advancing toward each other. The whole scene shows the diametrical opposite of that of The Effects of Good Government, creating a powerful reminder to the council.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: How does The Allegory of Good and Bad Government explain its The Effects of Bad Government?

Lorenzetti's The Effects of Bad Government fresco has not been written on so extensively as The Effects of Good Government has been, partly due to the worse condition of this fresco. The wall on which the fresco of The Effects of Bad Government is depicted used to be an exterior wall, so has suffered much moisture damage in the past. When viewers turn to examine this mural, they are confronted with a devious looking figure adorned with horns and fangs, and appearing to be cross-eyed. This figure is identified as Tyrammides (Tyranny), who sits enthroned, resting his feet upon a goat (symbolic of luxury) while holding a dagger.Below the tyrant the captive figure of Justice lies bound, while the figures of Cruelty, Deceit, Fraud, Fury, Division, and War flank him, and above him float the figures of Avarice, Pride, and Vainglory. These figures, according to an advice book for city magistrates of the time, were considered to be the “leading enemies of human life”. The planets of Jupiter, Saturn, and Mars preside over this scene, as they were the less favorable planets; also included are tyrannical figures such as the Roman Emperor Nero. When looking at the scene of the city itself, it appears to be very jarring; nothing fits as it should be. This is in part due to the fact that Lorenzetti presented the scene in such a manner that the viewer must read it right to left, automatically creating a sense of discomfort. When looking at the scene the city appears to be in ruin, windows are wide open, houses are being demolished, and businesses are nonexistent, except that of the armourer. The streets are deserted, and the countryside shows two armies advancing toward each other. The whole scene shows the diametrical opposite of that of The Effects of Good Government, creating a powerful reminder to the council.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


The Allegory of Good and Bad Government

Prompt: In The Allegory of Good and Bad Government, how is the The Effects of Bad Government discussed?

Lorenzetti's The Effects of Bad Government fresco has not been written on so extensively as The Effects of Good Government has been, partly due to the worse condition of this fresco. The wall on which the fresco of The Effects of Bad Government is depicted used to be an exterior wall, so has suffered much moisture damage in the past. When viewers turn to examine this mural, they are confronted with a devious looking figure adorned with horns and fangs, and appearing to be cross-eyed. This figure is identified as Tyrammides (Tyranny), who sits enthroned, resting his feet upon a goat (symbolic of luxury) while holding a dagger.Below the tyrant the captive figure of Justice lies bound, while the figures of Cruelty, Deceit, Fraud, Fury, Division, and War flank him, and above him float the figures of Avarice, Pride, and Vainglory. These figures, according to an advice book for city magistrates of the time, were considered to be the “leading enemies of human life”. The planets of Jupiter, Saturn, and Mars preside over this scene, as they were the less favorable planets; also included are tyrannical figures such as the Roman Emperor Nero. When looking at the scene of the city itself, it appears to be very jarring; nothing fits as it should be. This is in part due to the fact that Lorenzetti presented the scene in such a manner that the viewer must read it right to left, automatically creating a sense of discomfort. When looking at the scene the city appears to be in ruin, windows are wide open, houses are being demolished, and businesses are nonexistent, except that of the armourer. The streets are deserted, and the countryside shows two armies advancing toward each other. The whole scene shows the diametrical opposite of that of The Effects of Good Government, creating a powerful reminder to the council.

Dancers in ''Effects of Good Government''

The figure of Justice in ''Allegory of Good Government''

category:Allegorical paintings by Italian artists

Category:Paintings by Ambrogio Lorenzetti

File:Lorenzetti Amb. good government det 24.jpg

File:Sala amb frescos d'Ambrogio Lorenzetti, Palazzo Pubblico de Siena.JPG

Journal of the Warburg and Courtauld Institutes

The figure of Peace in ''Allegory of Good Government''

File:Ambrogio lorenzetti, affetti del cattivo governo 2, siena, palazzo pubblico, 1337-1340.jpg

''The Bad Government'' on the left; ''The Good Government'' in the center

Category:Paintings in the Palazzo Pubblico

File:Lorenzetti Amb. good government det..jpg


Found (Rossetti)

Prompt: Focus on Found (Rossetti) and explain the abstract.

Found is an unfinished oil painting by Dante Gabriel Rossetti, now in the Delaware Art Museum. The painting is Rossetti's only treatment in oil of a contemporary moral subject, urban prostitution, and although the work remained incomplete at Rossetti's death in 1882, he always considered it one of his most important works, returning to it many times from the mid-1850s until the year before his death.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: Explain the abstract of this artwork, Found (Rossetti).

Found is an unfinished oil painting by Dante Gabriel Rossetti, now in the Delaware Art Museum. The painting is Rossetti's only treatment in oil of a contemporary moral subject, urban prostitution, and although the work remained incomplete at Rossetti's death in 1882, he always considered it one of his most important works, returning to it many times from the mid-1850s until the year before his death.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: How does Found (Rossetti) explain its abstract?

Found is an unfinished oil painting by Dante Gabriel Rossetti, now in the Delaware Art Museum. The painting is Rossetti's only treatment in oil of a contemporary moral subject, urban prostitution, and although the work remained incomplete at Rossetti's death in 1882, he always considered it one of his most important works, returning to it many times from the mid-1850s until the year before his death.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: In Found (Rossetti), how is the abstract discussed?

Found is an unfinished oil painting by Dante Gabriel Rossetti, now in the Delaware Art Museum. The painting is Rossetti's only treatment in oil of a contemporary moral subject, urban prostitution, and although the work remained incomplete at Rossetti's death in 1882, he always considered it one of his most important works, returning to it many times from the mid-1850s until the year before his death.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: Focus on Found (Rossetti) and explain the History.

Unlike the majority of Rossetti's work of the 1850s, which were small-scale drawings and watercolours characterised by medieval and early Renaissance revivalism, Found was Rossetti's only attempt at a contemporary subject, prostitution, that was done in oils.Rossetti had addressed the topic of prostitution as early as 1847 in letters to his friend William Bell Scott, who wrote the poem Rosabell in 1846 (later known as Maryanne) on the topic. The Gate of Memory, a drawing Rossetti made c. 1854, shows a scene from Rosabell where a prostitute is beginning her evening of work, and views a group of innocent girls "still at play" dancing. The drawing may have been intended to illustrate the poem in a book, but was painted as a larger watercolour in 1857, which was repainted in 1864. In 1870 Rossetti published a sympathetic poem about a prostitute, Jenny.The artist Alexander Munro's maid Ellen Frazer may have posed for an early head-study for the fallen country girl of Found, and an ink-and-wash study of the composition (now in the British Museum) is dated 1853. Rossetti began work on the painting in the autumn of 1854; this is probably the unfinished version now in Carlisle.On 30 September 1853 Rossetti wrote to his mother and sister describing the type of wall, cart and calf that he wished for them to find as models so that he could begin the painting. The unfinished Carlisle version consists only of these three elements, plus the head of Fanny Cornforth, apparently added later. Ford Madox Brown noted in his diary Rossetti's difficulties in painting the calf in November 1854, "he paints it in all like Albert Durer (sic) hair by hair & seems incapable of any breadth ... From want of habit I see nature bothers him—but it is sweetly drawn & felt."The calf's role in the painting is two-fold. First, it explains why the farmer has come to the city. But more importantly, its situation as "an innocent animal trapped and on its way to be sold" parallels the woman's and raises questions on the woman's state of mind. "Is the prostitute rejecting salvation or is she accepting it; or is she repentant but unable to escape her fate, like the calf?"In 1855, Rossetti described his work-in-progress in a letter to William Holman Hunt:I can tell you, on my own side, of only one picture fairly begun—indeed, I may say, all things considered, rather advanced; but it is only a small one. The subject had been sometime designed before you left England and will be thought, by any one who sees it when (and if) finished, to follow in the wake of your "Awakened Conscience," but not by yourself, as you know I had long had in view subjects taking the same direction as my present one. The picture represents a London street at dawn, with the lamps still lighted along a bridge which forms the distant background. A drover has left his cart standing in the middle of the road (in which, i. e. the cart, stands baa-ing a calf tied on its way to market), and has run a little way after a girl who has passed him, wandering in the streets. He has just come up with her and she, recognising him, has sunk under her shame upon her knees, against the wall of a raised churchyard in the foreground, while he stands holding her hands as he seized them, half in bewilderment and half guarding her from doing herself a hurt. These are the chief things in the picture which is to be called "Found," and for which my sister Maria has found me a most lovely motto from Jeremiah ... The calf, a white one, will be a beautiful and suggestive part of the thing, though I am far from having painted him as well as I hoped to do.The motto from Jeremiah 2:2 reads "I remember Thee; the kindness of thy youth, the love of thy betrothal."  and appears on two early compositional studies. Rossetti replaced the word "espousal" in the motto as he found it with "betrothal", which he felt better translated the sense of the original Hebrew.In 1858, Rossetti met Fanny Cornforth, who soon became his mistress. She later described how he invited her to his studio and "put my head against the wall and drew it for the head of the calf picture". He made several pen and ink drawings about this time of the heads of both the male and female subjects.A version in oils was commissioned in 1859 by James Leathart, and this version, with the face of Fanny Cornforth, is the painting now in the Delaware Art Museum. Rossetti struggled with Found, abandoning and returning to it intermittently until at least 1881, and leaving it unfinished at his death. His assistants Henry Treffry Dunn and Frederic Shields both helped with the painting, and Dunn and Edward Burne-Jones may have worked on it after Rossetti's death.Rossetti published a poem, also titled "Found", as a companion to the painting in 1881 in the volume Ballads and Sonnets.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: Explain the History of this artwork, Found (Rossetti).

Unlike the majority of Rossetti's work of the 1850s, which were small-scale drawings and watercolours characterised by medieval and early Renaissance revivalism, Found was Rossetti's only attempt at a contemporary subject, prostitution, that was done in oils.Rossetti had addressed the topic of prostitution as early as 1847 in letters to his friend William Bell Scott, who wrote the poem Rosabell in 1846 (later known as Maryanne) on the topic. The Gate of Memory, a drawing Rossetti made c. 1854, shows a scene from Rosabell where a prostitute is beginning her evening of work, and views a group of innocent girls "still at play" dancing. The drawing may have been intended to illustrate the poem in a book, but was painted as a larger watercolour in 1857, which was repainted in 1864. In 1870 Rossetti published a sympathetic poem about a prostitute, Jenny.The artist Alexander Munro's maid Ellen Frazer may have posed for an early head-study for the fallen country girl of Found, and an ink-and-wash study of the composition (now in the British Museum) is dated 1853. Rossetti began work on the painting in the autumn of 1854; this is probably the unfinished version now in Carlisle.On 30 September 1853 Rossetti wrote to his mother and sister describing the type of wall, cart and calf that he wished for them to find as models so that he could begin the painting. The unfinished Carlisle version consists only of these three elements, plus the head of Fanny Cornforth, apparently added later. Ford Madox Brown noted in his diary Rossetti's difficulties in painting the calf in November 1854, "he paints it in all like Albert Durer (sic) hair by hair & seems incapable of any breadth ... From want of habit I see nature bothers him—but it is sweetly drawn & felt."The calf's role in the painting is two-fold. First, it explains why the farmer has come to the city. But more importantly, its situation as "an innocent animal trapped and on its way to be sold" parallels the woman's and raises questions on the woman's state of mind. "Is the prostitute rejecting salvation or is she accepting it; or is she repentant but unable to escape her fate, like the calf?"In 1855, Rossetti described his work-in-progress in a letter to William Holman Hunt:I can tell you, on my own side, of only one picture fairly begun—indeed, I may say, all things considered, rather advanced; but it is only a small one. The subject had been sometime designed before you left England and will be thought, by any one who sees it when (and if) finished, to follow in the wake of your "Awakened Conscience," but not by yourself, as you know I had long had in view subjects taking the same direction as my present one. The picture represents a London street at dawn, with the lamps still lighted along a bridge which forms the distant background. A drover has left his cart standing in the middle of the road (in which, i. e. the cart, stands baa-ing a calf tied on its way to market), and has run a little way after a girl who has passed him, wandering in the streets. He has just come up with her and she, recognising him, has sunk under her shame upon her knees, against the wall of a raised churchyard in the foreground, while he stands holding her hands as he seized them, half in bewilderment and half guarding her from doing herself a hurt. These are the chief things in the picture which is to be called "Found," and for which my sister Maria has found me a most lovely motto from Jeremiah ... The calf, a white one, will be a beautiful and suggestive part of the thing, though I am far from having painted him as well as I hoped to do.The motto from Jeremiah 2:2 reads "I remember Thee; the kindness of thy youth, the love of thy betrothal."  and appears on two early compositional studies. Rossetti replaced the word "espousal" in the motto as he found it with "betrothal", which he felt better translated the sense of the original Hebrew.In 1858, Rossetti met Fanny Cornforth, who soon became his mistress. She later described how he invited her to his studio and "put my head against the wall and drew it for the head of the calf picture". He made several pen and ink drawings about this time of the heads of both the male and female subjects.A version in oils was commissioned in 1859 by James Leathart, and this version, with the face of Fanny Cornforth, is the painting now in the Delaware Art Museum. Rossetti struggled with Found, abandoning and returning to it intermittently until at least 1881, and leaving it unfinished at his death. His assistants Henry Treffry Dunn and Frederic Shields both helped with the painting, and Dunn and Edward Burne-Jones may have worked on it after Rossetti's death.Rossetti published a poem, also titled "Found", as a companion to the painting in 1881 in the volume Ballads and Sonnets.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: How does Found (Rossetti) explain its History?

Unlike the majority of Rossetti's work of the 1850s, which were small-scale drawings and watercolours characterised by medieval and early Renaissance revivalism, Found was Rossetti's only attempt at a contemporary subject, prostitution, that was done in oils.Rossetti had addressed the topic of prostitution as early as 1847 in letters to his friend William Bell Scott, who wrote the poem Rosabell in 1846 (later known as Maryanne) on the topic. The Gate of Memory, a drawing Rossetti made c. 1854, shows a scene from Rosabell where a prostitute is beginning her evening of work, and views a group of innocent girls "still at play" dancing. The drawing may have been intended to illustrate the poem in a book, but was painted as a larger watercolour in 1857, which was repainted in 1864. In 1870 Rossetti published a sympathetic poem about a prostitute, Jenny.The artist Alexander Munro's maid Ellen Frazer may have posed for an early head-study for the fallen country girl of Found, and an ink-and-wash study of the composition (now in the British Museum) is dated 1853. Rossetti began work on the painting in the autumn of 1854; this is probably the unfinished version now in Carlisle.On 30 September 1853 Rossetti wrote to his mother and sister describing the type of wall, cart and calf that he wished for them to find as models so that he could begin the painting. The unfinished Carlisle version consists only of these three elements, plus the head of Fanny Cornforth, apparently added later. Ford Madox Brown noted in his diary Rossetti's difficulties in painting the calf in November 1854, "he paints it in all like Albert Durer (sic) hair by hair & seems incapable of any breadth ... From want of habit I see nature bothers him—but it is sweetly drawn & felt."The calf's role in the painting is two-fold. First, it explains why the farmer has come to the city. But more importantly, its situation as "an innocent animal trapped and on its way to be sold" parallels the woman's and raises questions on the woman's state of mind. "Is the prostitute rejecting salvation or is she accepting it; or is she repentant but unable to escape her fate, like the calf?"In 1855, Rossetti described his work-in-progress in a letter to William Holman Hunt:I can tell you, on my own side, of only one picture fairly begun—indeed, I may say, all things considered, rather advanced; but it is only a small one. The subject had been sometime designed before you left England and will be thought, by any one who sees it when (and if) finished, to follow in the wake of your "Awakened Conscience," but not by yourself, as you know I had long had in view subjects taking the same direction as my present one. The picture represents a London street at dawn, with the lamps still lighted along a bridge which forms the distant background. A drover has left his cart standing in the middle of the road (in which, i. e. the cart, stands baa-ing a calf tied on its way to market), and has run a little way after a girl who has passed him, wandering in the streets. He has just come up with her and she, recognising him, has sunk under her shame upon her knees, against the wall of a raised churchyard in the foreground, while he stands holding her hands as he seized them, half in bewilderment and half guarding her from doing herself a hurt. These are the chief things in the picture which is to be called "Found," and for which my sister Maria has found me a most lovely motto from Jeremiah ... The calf, a white one, will be a beautiful and suggestive part of the thing, though I am far from having painted him as well as I hoped to do.The motto from Jeremiah 2:2 reads "I remember Thee; the kindness of thy youth, the love of thy betrothal."  and appears on two early compositional studies. Rossetti replaced the word "espousal" in the motto as he found it with "betrothal", which he felt better translated the sense of the original Hebrew.In 1858, Rossetti met Fanny Cornforth, who soon became his mistress. She later described how he invited her to his studio and "put my head against the wall and drew it for the head of the calf picture". He made several pen and ink drawings about this time of the heads of both the male and female subjects.A version in oils was commissioned in 1859 by James Leathart, and this version, with the face of Fanny Cornforth, is the painting now in the Delaware Art Museum. Rossetti struggled with Found, abandoning and returning to it intermittently until at least 1881, and leaving it unfinished at his death. His assistants Henry Treffry Dunn and Frederic Shields both helped with the painting, and Dunn and Edward Burne-Jones may have worked on it after Rossetti's death.Rossetti published a poem, also titled "Found", as a companion to the painting in 1881 in the volume Ballads and Sonnets.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: In Found (Rossetti), how is the History discussed?

Unlike the majority of Rossetti's work of the 1850s, which were small-scale drawings and watercolours characterised by medieval and early Renaissance revivalism, Found was Rossetti's only attempt at a contemporary subject, prostitution, that was done in oils.Rossetti had addressed the topic of prostitution as early as 1847 in letters to his friend William Bell Scott, who wrote the poem Rosabell in 1846 (later known as Maryanne) on the topic. The Gate of Memory, a drawing Rossetti made c. 1854, shows a scene from Rosabell where a prostitute is beginning her evening of work, and views a group of innocent girls "still at play" dancing. The drawing may have been intended to illustrate the poem in a book, but was painted as a larger watercolour in 1857, which was repainted in 1864. In 1870 Rossetti published a sympathetic poem about a prostitute, Jenny.The artist Alexander Munro's maid Ellen Frazer may have posed for an early head-study for the fallen country girl of Found, and an ink-and-wash study of the composition (now in the British Museum) is dated 1853. Rossetti began work on the painting in the autumn of 1854; this is probably the unfinished version now in Carlisle.On 30 September 1853 Rossetti wrote to his mother and sister describing the type of wall, cart and calf that he wished for them to find as models so that he could begin the painting. The unfinished Carlisle version consists only of these three elements, plus the head of Fanny Cornforth, apparently added later. Ford Madox Brown noted in his diary Rossetti's difficulties in painting the calf in November 1854, "he paints it in all like Albert Durer (sic) hair by hair & seems incapable of any breadth ... From want of habit I see nature bothers him—but it is sweetly drawn & felt."The calf's role in the painting is two-fold. First, it explains why the farmer has come to the city. But more importantly, its situation as "an innocent animal trapped and on its way to be sold" parallels the woman's and raises questions on the woman's state of mind. "Is the prostitute rejecting salvation or is she accepting it; or is she repentant but unable to escape her fate, like the calf?"In 1855, Rossetti described his work-in-progress in a letter to William Holman Hunt:I can tell you, on my own side, of only one picture fairly begun—indeed, I may say, all things considered, rather advanced; but it is only a small one. The subject had been sometime designed before you left England and will be thought, by any one who sees it when (and if) finished, to follow in the wake of your "Awakened Conscience," but not by yourself, as you know I had long had in view subjects taking the same direction as my present one. The picture represents a London street at dawn, with the lamps still lighted along a bridge which forms the distant background. A drover has left his cart standing in the middle of the road (in which, i. e. the cart, stands baa-ing a calf tied on its way to market), and has run a little way after a girl who has passed him, wandering in the streets. He has just come up with her and she, recognising him, has sunk under her shame upon her knees, against the wall of a raised churchyard in the foreground, while he stands holding her hands as he seized them, half in bewilderment and half guarding her from doing herself a hurt. These are the chief things in the picture which is to be called "Found," and for which my sister Maria has found me a most lovely motto from Jeremiah ... The calf, a white one, will be a beautiful and suggestive part of the thing, though I am far from having painted him as well as I hoped to do.The motto from Jeremiah 2:2 reads "I remember Thee; the kindness of thy youth, the love of thy betrothal."  and appears on two early compositional studies. Rossetti replaced the word "espousal" in the motto as he found it with "betrothal", which he felt better translated the sense of the original Hebrew.In 1858, Rossetti met Fanny Cornforth, who soon became his mistress. She later described how he invited her to his studio and "put my head against the wall and drew it for the head of the calf picture". He made several pen and ink drawings about this time of the heads of both the male and female subjects.A version in oils was commissioned in 1859 by James Leathart, and this version, with the face of Fanny Cornforth, is the painting now in the Delaware Art Museum. Rossetti struggled with Found, abandoning and returning to it intermittently until at least 1881, and leaving it unfinished at his death. His assistants Henry Treffry Dunn and Frederic Shields both helped with the painting, and Dunn and Edward Burne-Jones may have worked on it after Rossetti's death.Rossetti published a poem, also titled "Found", as a companion to the painting in 1881 in the volume Ballads and Sonnets.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: Focus on Found (Rossetti) and explain the Studies.

A number of studies for Found have survived. The earliest may be the black and brown ink sketch now in the British Museum, which is signed and dated 1853. The Birmingham Museum and Art Gallery has a compositional sketch in pen and black ink dated to 1854–55 as well as a pen and ink drawing of the head of the girl modelled by Fanny Cornforth.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: Explain the Studies of this artwork, Found (Rossetti).

A number of studies for Found have survived. The earliest may be the black and brown ink sketch now in the British Museum, which is signed and dated 1853. The Birmingham Museum and Art Gallery has a compositional sketch in pen and black ink dated to 1854–55 as well as a pen and ink drawing of the head of the girl modelled by Fanny Cornforth.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: How does Found (Rossetti) explain its Studies?

A number of studies for Found have survived. The earliest may be the black and brown ink sketch now in the British Museum, which is signed and dated 1853. The Birmingham Museum and Art Gallery has a compositional sketch in pen and black ink dated to 1854–55 as well as a pen and ink drawing of the head of the girl modelled by Fanny Cornforth.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: In Found (Rossetti), how is the Studies discussed?

A number of studies for Found have survived. The earliest may be the black and brown ink sketch now in the British Museum, which is signed and dated 1853. The Birmingham Museum and Art Gallery has a compositional sketch in pen and black ink dated to 1854–55 as well as a pen and ink drawing of the head of the girl modelled by Fanny Cornforth.

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: Focus on Found (Rossetti) and explain the Ownership and exhibitions.

The painting was first commissioned by Francis McCracken but the commission was dropped because of lack of progress on the painting. Next James Leathart, then William Graham commissioned the work. Graham only took possession of the unfinished work after Rossetti's death. Graham's estate sold the work in 1886, presumably to Frederick Richards Leyland and it was sold again at Leyland's estate sale, held at Christie's on 28 May 1892.Samuel Bancroft, a textile mill owner from Wilmington, Delaware, bought the painting at the estate sale. He bought at least four other Rossetti paintings at the same time and later accumulated one of the largest collections of Pre-Raphaelite art outside of the United Kingdom.  Found is considered the most important picture in Bancroft's extensive collection and was prominently displayed above Bancroft's desk in his home. The Bancroft estate donated the collection in 1935 to the Delaware Art Museum in Wilmington.The painting was exhibited in London in 1883, at Rossetti's memorial exhibition, and again in 1892. Following the 1883 exhibition at the Royal Academy, Lewis Carroll noted that the farmer's face showed a combination "of pain and pity, condemnation and love, which is one of the most marvellous things I have ever seen done in painting."While Bancroft's house in Wilmington was being expanded to hold his new paintings in 1892, Found was exhibited in nearby Philadelphia at the Pennsylvania Academy of the Fine Arts and in New York at the Century Club.It has also been exhibited in London and Birmingham (1973), New Haven (1976), Richmond, Virginia (1982), and in London, Liverpool, Moscow (2013) and Amsterdam (2003).

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: Explain the Ownership and exhibitions of this artwork, Found (Rossetti).

The painting was first commissioned by Francis McCracken but the commission was dropped because of lack of progress on the painting. Next James Leathart, then William Graham commissioned the work. Graham only took possession of the unfinished work after Rossetti's death. Graham's estate sold the work in 1886, presumably to Frederick Richards Leyland and it was sold again at Leyland's estate sale, held at Christie's on 28 May 1892.Samuel Bancroft, a textile mill owner from Wilmington, Delaware, bought the painting at the estate sale. He bought at least four other Rossetti paintings at the same time and later accumulated one of the largest collections of Pre-Raphaelite art outside of the United Kingdom.  Found is considered the most important picture in Bancroft's extensive collection and was prominently displayed above Bancroft's desk in his home. The Bancroft estate donated the collection in 1935 to the Delaware Art Museum in Wilmington.The painting was exhibited in London in 1883, at Rossetti's memorial exhibition, and again in 1892. Following the 1883 exhibition at the Royal Academy, Lewis Carroll noted that the farmer's face showed a combination "of pain and pity, condemnation and love, which is one of the most marvellous things I have ever seen done in painting."While Bancroft's house in Wilmington was being expanded to hold his new paintings in 1892, Found was exhibited in nearby Philadelphia at the Pennsylvania Academy of the Fine Arts and in New York at the Century Club.It has also been exhibited in London and Birmingham (1973), New Haven (1976), Richmond, Virginia (1982), and in London, Liverpool, Moscow (2013) and Amsterdam (2003).

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: How does Found (Rossetti) explain its Ownership and exhibitions?

The painting was first commissioned by Francis McCracken but the commission was dropped because of lack of progress on the painting. Next James Leathart, then William Graham commissioned the work. Graham only took possession of the unfinished work after Rossetti's death. Graham's estate sold the work in 1886, presumably to Frederick Richards Leyland and it was sold again at Leyland's estate sale, held at Christie's on 28 May 1892.Samuel Bancroft, a textile mill owner from Wilmington, Delaware, bought the painting at the estate sale. He bought at least four other Rossetti paintings at the same time and later accumulated one of the largest collections of Pre-Raphaelite art outside of the United Kingdom.  Found is considered the most important picture in Bancroft's extensive collection and was prominently displayed above Bancroft's desk in his home. The Bancroft estate donated the collection in 1935 to the Delaware Art Museum in Wilmington.The painting was exhibited in London in 1883, at Rossetti's memorial exhibition, and again in 1892. Following the 1883 exhibition at the Royal Academy, Lewis Carroll noted that the farmer's face showed a combination "of pain and pity, condemnation and love, which is one of the most marvellous things I have ever seen done in painting."While Bancroft's house in Wilmington was being expanded to hold his new paintings in 1892, Found was exhibited in nearby Philadelphia at the Pennsylvania Academy of the Fine Arts and in New York at the Century Club.It has also been exhibited in London and Birmingham (1973), New Haven (1976), Richmond, Virginia (1982), and in London, Liverpool, Moscow (2013) and Amsterdam (2003).

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Found (Rossetti)

Prompt: In Found (Rossetti), how is the Ownership and exhibitions discussed?

The painting was first commissioned by Francis McCracken but the commission was dropped because of lack of progress on the painting. Next James Leathart, then William Graham commissioned the work. Graham only took possession of the unfinished work after Rossetti's death. Graham's estate sold the work in 1886, presumably to Frederick Richards Leyland and it was sold again at Leyland's estate sale, held at Christie's on 28 May 1892.Samuel Bancroft, a textile mill owner from Wilmington, Delaware, bought the painting at the estate sale. He bought at least four other Rossetti paintings at the same time and later accumulated one of the largest collections of Pre-Raphaelite art outside of the United Kingdom.  Found is considered the most important picture in Bancroft's extensive collection and was prominently displayed above Bancroft's desk in his home. The Bancroft estate donated the collection in 1935 to the Delaware Art Museum in Wilmington.The painting was exhibited in London in 1883, at Rossetti's memorial exhibition, and again in 1892. Following the 1883 exhibition at the Royal Academy, Lewis Carroll noted that the farmer's face showed a combination "of pain and pity, condemnation and love, which is one of the most marvellous things I have ever seen done in painting."While Bancroft's house in Wilmington was being expanded to hold his new paintings in 1892, Found was exhibited in nearby Philadelphia at the Pennsylvania Academy of the Fine Arts and in New York at the Century Club.It has also been exhibited in London and Birmingham (1973), New Haven (1976), Richmond, Virginia (1982), and in London, Liverpool, Moscow (2013) and Amsterdam (2003).

Study for the head of the girl, 1858. Ink on paper. Model: Fanny Cornforth. (Birmingham Museum and Art Gallery)

Category:Paintings in the Delaware Art Museum

Category:Paintings by Dante Gabriel Rossetti

File:Dante Gabriel Rossetti Study for Found 1853.png

List of paintings by Dante Gabriel Rossetti

Study for ''Found'', dated 1853. Black and brown ink with white heightening on paper. (The British Museum)

File:Dante Gabriel Rossetti - Found - Study for the Head of the Girl - Google Art Project.jpg


Prompt: Focus on Memory of the Garden at Etten (Ladies of Arles) and explain the abstract.

Memory of the Garden at Etten (Ladies of Arles) is an oil painting by Vincent van Gogh. It was executed in Arles around November 1888 and is in the collection of the Hermitage Museum. It was intended as decoration for his bedroom at the Yellow House.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Explain the abstract of this artwork, Memory of the Garden at Etten (Ladies of Arles).

Memory of the Garden at Etten (Ladies of Arles) is an oil painting by Vincent van Gogh. It was executed in Arles around November 1888 and is in the collection of the Hermitage Museum. It was intended as decoration for his bedroom at the Yellow House.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: How does Memory of the Garden at Etten (Ladies of Arles) explain its abstract?

Memory of the Garden at Etten (Ladies of Arles) is an oil painting by Vincent van Gogh. It was executed in Arles around November 1888 and is in the collection of the Hermitage Museum. It was intended as decoration for his bedroom at the Yellow House.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: In Memory of the Garden at Etten (Ladies of Arles), how is the abstract discussed?

Memory of the Garden at Etten (Ladies of Arles) is an oil painting by Vincent van Gogh. It was executed in Arles around November 1888 and is in the collection of the Hermitage Museum. It was intended as decoration for his bedroom at the Yellow House.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Focus on Memory of the Garden at Etten (Ladies of Arles) and explain the Background.

The "Garden at Etten" refers to the parsonage garden at Etten (now Etten-Leur) which Vincent's father, pastor Theodorus van Gogh, visited in 1875. Vincent spent periods of time there, notably from Easter to Christmas 1881 when he returned to join his brother Theo, an art dealer, determined to become an artist. This period at Etten represents the beginning proper of Vincent's ten-year career as an artist. He had drawn since boyhood, and the previous year had enrolled in a beginners' class in Brussels where he met the painter Anthon van Rappard, but he now began to draw in earnest. He rapidly developed an accomplished technique in landscape drawing but remained rather more uncertain in his figure drawing, which he practised assiduously with the aid of Charles Bargue's drawing course. Rappard made a twelve-day visit during this time, and they sketched together in the marshes and heaths round Etten. Vincent also visited his cousin-in-law Anton Mauve in The Hague, a celebrated artist of the time, who had expressed an interest in his drawings and who encouraged him  further. At this time Vincent had not progressed as far as painting, though he did wash some of his drawings with watercolor. At the end of the year he made an extended visit to Mauve, who introduced him to painting. He returned to Etten with the intention of setting up a studio there.That summer Vincent became infatuated with his recently widowed cousin Kee Vos-Stricker, daughter of the theologian Johannes Stricker, who had been invited to stay over the summer with her eight-year-old son Jan. Vincent had last visited her in Amsterdam some three years before while her husband was still alive  (there is a family photo extant dating from 1872 thought to show Vincent side by side with Kee), but now her new situation stirred his tender feelings and romantic disposition. They took pleasant walks together and within the fortnight Vincent proposed marriage. She famously rebuffed him with a curt "No, at no time, never", abruptly taking her leave for Amsterdam and never dealing with him again. Vincent's obsessive attempts to press his suit eventually became a matter of family scandal, culminating in a bitter quarrel with his father on Christmas Day and his leaving the family home to set up his proposed studio in The Hague instead.Vincent subsequently painted in Drenthe, Nuenen (his last family home), and Antwerp, before joining Theo in Paris in 1886, Finally he set up a studio in 1888 at the Yellow House in Arles, where he was joined by Paul Gauguin, with the intention of forming an artists' commune.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Explain the Background of this artwork, Memory of the Garden at Etten (Ladies of Arles).

The "Garden at Etten" refers to the parsonage garden at Etten (now Etten-Leur) which Vincent's father, pastor Theodorus van Gogh, visited in 1875. Vincent spent periods of time there, notably from Easter to Christmas 1881 when he returned to join his brother Theo, an art dealer, determined to become an artist. This period at Etten represents the beginning proper of Vincent's ten-year career as an artist. He had drawn since boyhood, and the previous year had enrolled in a beginners' class in Brussels where he met the painter Anthon van Rappard, but he now began to draw in earnest. He rapidly developed an accomplished technique in landscape drawing but remained rather more uncertain in his figure drawing, which he practised assiduously with the aid of Charles Bargue's drawing course. Rappard made a twelve-day visit during this time, and they sketched together in the marshes and heaths round Etten. Vincent also visited his cousin-in-law Anton Mauve in The Hague, a celebrated artist of the time, who had expressed an interest in his drawings and who encouraged him  further. At this time Vincent had not progressed as far as painting, though he did wash some of his drawings with watercolor. At the end of the year he made an extended visit to Mauve, who introduced him to painting. He returned to Etten with the intention of setting up a studio there.That summer Vincent became infatuated with his recently widowed cousin Kee Vos-Stricker, daughter of the theologian Johannes Stricker, who had been invited to stay over the summer with her eight-year-old son Jan. Vincent had last visited her in Amsterdam some three years before while her husband was still alive  (there is a family photo extant dating from 1872 thought to show Vincent side by side with Kee), but now her new situation stirred his tender feelings and romantic disposition. They took pleasant walks together and within the fortnight Vincent proposed marriage. She famously rebuffed him with a curt "No, at no time, never", abruptly taking her leave for Amsterdam and never dealing with him again. Vincent's obsessive attempts to press his suit eventually became a matter of family scandal, culminating in a bitter quarrel with his father on Christmas Day and his leaving the family home to set up his proposed studio in The Hague instead.Vincent subsequently painted in Drenthe, Nuenen (his last family home), and Antwerp, before joining Theo in Paris in 1886, Finally he set up a studio in 1888 at the Yellow House in Arles, where he was joined by Paul Gauguin, with the intention of forming an artists' commune.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: How does Memory of the Garden at Etten (Ladies of Arles) explain its Background?

The "Garden at Etten" refers to the parsonage garden at Etten (now Etten-Leur) which Vincent's father, pastor Theodorus van Gogh, visited in 1875. Vincent spent periods of time there, notably from Easter to Christmas 1881 when he returned to join his brother Theo, an art dealer, determined to become an artist. This period at Etten represents the beginning proper of Vincent's ten-year career as an artist. He had drawn since boyhood, and the previous year had enrolled in a beginners' class in Brussels where he met the painter Anthon van Rappard, but he now began to draw in earnest. He rapidly developed an accomplished technique in landscape drawing but remained rather more uncertain in his figure drawing, which he practised assiduously with the aid of Charles Bargue's drawing course. Rappard made a twelve-day visit during this time, and they sketched together in the marshes and heaths round Etten. Vincent also visited his cousin-in-law Anton Mauve in The Hague, a celebrated artist of the time, who had expressed an interest in his drawings and who encouraged him  further. At this time Vincent had not progressed as far as painting, though he did wash some of his drawings with watercolor. At the end of the year he made an extended visit to Mauve, who introduced him to painting. He returned to Etten with the intention of setting up a studio there.That summer Vincent became infatuated with his recently widowed cousin Kee Vos-Stricker, daughter of the theologian Johannes Stricker, who had been invited to stay over the summer with her eight-year-old son Jan. Vincent had last visited her in Amsterdam some three years before while her husband was still alive  (there is a family photo extant dating from 1872 thought to show Vincent side by side with Kee), but now her new situation stirred his tender feelings and romantic disposition. They took pleasant walks together and within the fortnight Vincent proposed marriage. She famously rebuffed him with a curt "No, at no time, never", abruptly taking her leave for Amsterdam and never dealing with him again. Vincent's obsessive attempts to press his suit eventually became a matter of family scandal, culminating in a bitter quarrel with his father on Christmas Day and his leaving the family home to set up his proposed studio in The Hague instead.Vincent subsequently painted in Drenthe, Nuenen (his last family home), and Antwerp, before joining Theo in Paris in 1886, Finally he set up a studio in 1888 at the Yellow House in Arles, where he was joined by Paul Gauguin, with the intention of forming an artists' commune.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: In Memory of the Garden at Etten (Ladies of Arles), how is the Background discussed?

The "Garden at Etten" refers to the parsonage garden at Etten (now Etten-Leur) which Vincent's father, pastor Theodorus van Gogh, visited in 1875. Vincent spent periods of time there, notably from Easter to Christmas 1881 when he returned to join his brother Theo, an art dealer, determined to become an artist. This period at Etten represents the beginning proper of Vincent's ten-year career as an artist. He had drawn since boyhood, and the previous year had enrolled in a beginners' class in Brussels where he met the painter Anthon van Rappard, but he now began to draw in earnest. He rapidly developed an accomplished technique in landscape drawing but remained rather more uncertain in his figure drawing, which he practised assiduously with the aid of Charles Bargue's drawing course. Rappard made a twelve-day visit during this time, and they sketched together in the marshes and heaths round Etten. Vincent also visited his cousin-in-law Anton Mauve in The Hague, a celebrated artist of the time, who had expressed an interest in his drawings and who encouraged him  further. At this time Vincent had not progressed as far as painting, though he did wash some of his drawings with watercolor. At the end of the year he made an extended visit to Mauve, who introduced him to painting. He returned to Etten with the intention of setting up a studio there.That summer Vincent became infatuated with his recently widowed cousin Kee Vos-Stricker, daughter of the theologian Johannes Stricker, who had been invited to stay over the summer with her eight-year-old son Jan. Vincent had last visited her in Amsterdam some three years before while her husband was still alive  (there is a family photo extant dating from 1872 thought to show Vincent side by side with Kee), but now her new situation stirred his tender feelings and romantic disposition. They took pleasant walks together and within the fortnight Vincent proposed marriage. She famously rebuffed him with a curt "No, at no time, never", abruptly taking her leave for Amsterdam and never dealing with him again. Vincent's obsessive attempts to press his suit eventually became a matter of family scandal, culminating in a bitter quarrel with his father on Christmas Day and his leaving the family home to set up his proposed studio in The Hague instead.Vincent subsequently painted in Drenthe, Nuenen (his last family home), and Antwerp, before joining Theo in Paris in 1886, Finally he set up a studio in 1888 at the Yellow House in Arles, where he was joined by Paul Gauguin, with the intention of forming an artists' commune.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh