Trinity (Andrei Rublev)

Prompt: Explain the The 1904 cleaning about the History of this artwork, Trinity (Andrei Rublev).

At the beginning of the 20th century many icons were cleaned one by one, and many of them turned out to be masterpieces. Eventually scholars became interested in The Trinity from the Trinity Lavra. Compared to other icons such as the Theotokos of Vladimir or Our Lady of Kazan The Trinity was not particularly revered, because there was nothing special about it, it was not "miracle-working" or "myrrh streaming", and it did not become a source for a large number of copies. However it had a certain reputation due to the fact that it was believed to be the very icon from The Book of One Hundred Chapters. As Andrei Rublev's name appeared in The Book as well, he was held in high regard among the Christian believers. A lot of different icons and frescoes were attributed to him, e.g. the frescoes in the Church of the Dormition in the Gorodok in Zvenigorod. The cleaning of The Trinity could theoretically reveal a perfect example of his style and help with the examination of the other icons that were attributed to him on the basis of legends or common belief.Invited by the prior of the Trinity Lavra in the spring of 1904, Vasily Guryanov took the icon out from the iconostasis, removed the riza and then cleaned it from the "renewals" and the drying oil. Ilya Ostroukhov recommended him for the job. He was helped by V. A. Tyulin and A. I. Izraztsov. After removing the riza, Guryanov did not find out Rublev's painting, but discovered the results of all the "renewals". Rublev's art was underneath them. He wrote: "When the golden riza was removed from this icon, we saw a perfectly painted icon. The background and the margins were coloured brown, golden inscription were new. All angels' clothes were repainted in a lilac tone and whitewashed not with paint, but with gold; the table, the mountain and the house were repainted… There were only faces left on which it was possible to evaluate that this icon was ancient, but even they were shaded by brown oil paint.". As it became clear during another restoration in 1919, Guryanov did not reach the original layer in some places. After Guryanov removed three upper layers, the last of which was painted in the Palekh school style, he revealed the original layer. Both the restorer and the eyewitnesses of the occasion were stunned. Instead of dark smoky tones of drying oil and brown-toned clothing that was typical for iconography of that time, they saw bright colours and transparent clothing that reminded them of the 14th-century Italian frescoes and icons. Then he repainted the icon according to his own views on how it should look like. After that The Trinity was returned to the iconostasis.Guryanov's effort was panned even by his contemporaries. In 1915 Nikolai Sychyov pointed out that his restoration actually hid the work of art from us. It had to be liquidated later. Y. Malkov summed up:Only the painting's exposure in 1918 can be called "a restoration" in the modern scientific meaning of this word (and even that cannot be said without some reservations); all previous works on The Trinity were, in fact, only "renewals", including the "restoration" that took place in 1904—1905 under the guidance of V. P. Guryanov... No doubt, the restorers consciously tried to strengthen all the graphic and linear structure of the icon, with rough augmentation of the figures' contours, clothes, halos. There was even an obvious meddling in the inner sanctum, the "face image" area, where insufficiently cleaned remains of the author's.. lines...(which were already rather schematically reproduced by the latest renewals of the 16—19th centuries) were literally rumpled and absorbed by the rigid graphics of V. P. Guryanov and his assistants.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In Trinity (Andrei Rublev), how is the The 1904 cleaning of the History explained?

At the beginning of the 20th century many icons were cleaned one by one, and many of them turned out to be masterpieces. Eventually scholars became interested in The Trinity from the Trinity Lavra. Compared to other icons such as the Theotokos of Vladimir or Our Lady of Kazan The Trinity was not particularly revered, because there was nothing special about it, it was not "miracle-working" or "myrrh streaming", and it did not become a source for a large number of copies. However it had a certain reputation due to the fact that it was believed to be the very icon from The Book of One Hundred Chapters. As Andrei Rublev's name appeared in The Book as well, he was held in high regard among the Christian believers. A lot of different icons and frescoes were attributed to him, e.g. the frescoes in the Church of the Dormition in the Gorodok in Zvenigorod. The cleaning of The Trinity could theoretically reveal a perfect example of his style and help with the examination of the other icons that were attributed to him on the basis of legends or common belief.Invited by the prior of the Trinity Lavra in the spring of 1904, Vasily Guryanov took the icon out from the iconostasis, removed the riza and then cleaned it from the "renewals" and the drying oil. Ilya Ostroukhov recommended him for the job. He was helped by V. A. Tyulin and A. I. Izraztsov. After removing the riza, Guryanov did not find out Rublev's painting, but discovered the results of all the "renewals". Rublev's art was underneath them. He wrote: "When the golden riza was removed from this icon, we saw a perfectly painted icon. The background and the margins were coloured brown, golden inscription were new. All angels' clothes were repainted in a lilac tone and whitewashed not with paint, but with gold; the table, the mountain and the house were repainted… There were only faces left on which it was possible to evaluate that this icon was ancient, but even they were shaded by brown oil paint.". As it became clear during another restoration in 1919, Guryanov did not reach the original layer in some places. After Guryanov removed three upper layers, the last of which was painted in the Palekh school style, he revealed the original layer. Both the restorer and the eyewitnesses of the occasion were stunned. Instead of dark smoky tones of drying oil and brown-toned clothing that was typical for iconography of that time, they saw bright colours and transparent clothing that reminded them of the 14th-century Italian frescoes and icons. Then he repainted the icon according to his own views on how it should look like. After that The Trinity was returned to the iconostasis.Guryanov's effort was panned even by his contemporaries. In 1915 Nikolai Sychyov pointed out that his restoration actually hid the work of art from us. It had to be liquidated later. Y. Malkov summed up:Only the painting's exposure in 1918 can be called "a restoration" in the modern scientific meaning of this word (and even that cannot be said without some reservations); all previous works on The Trinity were, in fact, only "renewals", including the "restoration" that took place in 1904—1905 under the guidance of V. P. Guryanov... No doubt, the restorers consciously tried to strengthen all the graphic and linear structure of the icon, with rough augmentation of the figures' contours, clothes, halos. There was even an obvious meddling in the inner sanctum, the "face image" area, where insufficiently cleaned remains of the author's.. lines...(which were already rather schematically reproduced by the latest renewals of the 16—19th centuries) were literally rumpled and absorbed by the rigid graphics of V. P. Guryanov and his assistants.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Describe the characteristics of the The 1904 cleaning in Trinity (Andrei Rublev)'s History.

At the beginning of the 20th century many icons were cleaned one by one, and many of them turned out to be masterpieces. Eventually scholars became interested in The Trinity from the Trinity Lavra. Compared to other icons such as the Theotokos of Vladimir or Our Lady of Kazan The Trinity was not particularly revered, because there was nothing special about it, it was not "miracle-working" or "myrrh streaming", and it did not become a source for a large number of copies. However it had a certain reputation due to the fact that it was believed to be the very icon from The Book of One Hundred Chapters. As Andrei Rublev's name appeared in The Book as well, he was held in high regard among the Christian believers. A lot of different icons and frescoes were attributed to him, e.g. the frescoes in the Church of the Dormition in the Gorodok in Zvenigorod. The cleaning of The Trinity could theoretically reveal a perfect example of his style and help with the examination of the other icons that were attributed to him on the basis of legends or common belief.Invited by the prior of the Trinity Lavra in the spring of 1904, Vasily Guryanov took the icon out from the iconostasis, removed the riza and then cleaned it from the "renewals" and the drying oil. Ilya Ostroukhov recommended him for the job. He was helped by V. A. Tyulin and A. I. Izraztsov. After removing the riza, Guryanov did not find out Rublev's painting, but discovered the results of all the "renewals". Rublev's art was underneath them. He wrote: "When the golden riza was removed from this icon, we saw a perfectly painted icon. The background and the margins were coloured brown, golden inscription were new. All angels' clothes were repainted in a lilac tone and whitewashed not with paint, but with gold; the table, the mountain and the house were repainted… There were only faces left on which it was possible to evaluate that this icon was ancient, but even they were shaded by brown oil paint.". As it became clear during another restoration in 1919, Guryanov did not reach the original layer in some places. After Guryanov removed three upper layers, the last of which was painted in the Palekh school style, he revealed the original layer. Both the restorer and the eyewitnesses of the occasion were stunned. Instead of dark smoky tones of drying oil and brown-toned clothing that was typical for iconography of that time, they saw bright colours and transparent clothing that reminded them of the 14th-century Italian frescoes and icons. Then he repainted the icon according to his own views on how it should look like. After that The Trinity was returned to the iconostasis.Guryanov's effort was panned even by his contemporaries. In 1915 Nikolai Sychyov pointed out that his restoration actually hid the work of art from us. It had to be liquidated later. Y. Malkov summed up:Only the painting's exposure in 1918 can be called "a restoration" in the modern scientific meaning of this word (and even that cannot be said without some reservations); all previous works on The Trinity were, in fact, only "renewals", including the "restoration" that took place in 1904—1905 under the guidance of V. P. Guryanov... No doubt, the restorers consciously tried to strengthen all the graphic and linear structure of the icon, with rough augmentation of the figures' contours, clothes, halos. There was even an obvious meddling in the inner sanctum, the "face image" area, where insufficiently cleaned remains of the author's.. lines...(which were already rather schematically reproduced by the latest renewals of the 16—19th centuries) were literally rumpled and absorbed by the rigid graphics of V. P. Guryanov and his assistants.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In the context of Trinity (Andrei Rublev), explain the The 1918 cleaning and the History.

As soon as the icon returned to the Trinity Cathedral's iconostasis, it darkened again very quickly. It was necessary to open it again. The Ancient Paintings Cleaning Committee of Russia took charge of the restoration in 1918. Yury Olsufyev was the leader of the team which also included Igor Grabar, Alexander Anisimov, Alexis Gritchenko, and the Works of Art Protection Committee under the Trinity Lavra of St. Sergius, which included Yury Olsufyev himself, Pavel Florensky, and Pavel Kapterev. Restoration work commenced on 28 November 28, 1918 and lasted until 2 January 2, 1919. It was carried out by I. Suslov, V. Tyulin, and G. Chirikov. All stages of the cleaning were recorded in detail in the Diary. Based on this records and Yury Olsufyev's personal observations, the summary of the works called Protocol No. 1 was created in 1925. These documents are kept in the Tretyakov Gallery archives. Some details and lines were restored, others were found damaged beyond restoration.Problems with the safe-keeping of The Trinity started in 1918–19 immediately after its cleaning. Twice a year, in spring and in autumn, humidity in the Trinity Cathedral increased and the icon was transferred to the so-called First Icon Depository. The continued changes in temperature and humidity affected its condition.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Explain the The 1918 cleaning about the History of this artwork, Trinity (Andrei Rublev).

As soon as the icon returned to the Trinity Cathedral's iconostasis, it darkened again very quickly. It was necessary to open it again. The Ancient Paintings Cleaning Committee of Russia took charge of the restoration in 1918. Yury Olsufyev was the leader of the team which also included Igor Grabar, Alexander Anisimov, Alexis Gritchenko, and the Works of Art Protection Committee under the Trinity Lavra of St. Sergius, which included Yury Olsufyev himself, Pavel Florensky, and Pavel Kapterev. Restoration work commenced on 28 November 28, 1918 and lasted until 2 January 2, 1919. It was carried out by I. Suslov, V. Tyulin, and G. Chirikov. All stages of the cleaning were recorded in detail in the Diary. Based on this records and Yury Olsufyev's personal observations, the summary of the works called Protocol No. 1 was created in 1925. These documents are kept in the Tretyakov Gallery archives. Some details and lines were restored, others were found damaged beyond restoration.Problems with the safe-keeping of The Trinity started in 1918–19 immediately after its cleaning. Twice a year, in spring and in autumn, humidity in the Trinity Cathedral increased and the icon was transferred to the so-called First Icon Depository. The continued changes in temperature and humidity affected its condition.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In Trinity (Andrei Rublev), how is the The 1918 cleaning of the History explained?

As soon as the icon returned to the Trinity Cathedral's iconostasis, it darkened again very quickly. It was necessary to open it again. The Ancient Paintings Cleaning Committee of Russia took charge of the restoration in 1918. Yury Olsufyev was the leader of the team which also included Igor Grabar, Alexander Anisimov, Alexis Gritchenko, and the Works of Art Protection Committee under the Trinity Lavra of St. Sergius, which included Yury Olsufyev himself, Pavel Florensky, and Pavel Kapterev. Restoration work commenced on 28 November 28, 1918 and lasted until 2 January 2, 1919. It was carried out by I. Suslov, V. Tyulin, and G. Chirikov. All stages of the cleaning were recorded in detail in the Diary. Based on this records and Yury Olsufyev's personal observations, the summary of the works called Protocol No. 1 was created in 1925. These documents are kept in the Tretyakov Gallery archives. Some details and lines were restored, others were found damaged beyond restoration.Problems with the safe-keeping of The Trinity started in 1918–19 immediately after its cleaning. Twice a year, in spring and in autumn, humidity in the Trinity Cathedral increased and the icon was transferred to the so-called First Icon Depository. The continued changes in temperature and humidity affected its condition.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Describe the characteristics of the The 1918 cleaning in Trinity (Andrei Rublev)'s History.

As soon as the icon returned to the Trinity Cathedral's iconostasis, it darkened again very quickly. It was necessary to open it again. The Ancient Paintings Cleaning Committee of Russia took charge of the restoration in 1918. Yury Olsufyev was the leader of the team which also included Igor Grabar, Alexander Anisimov, Alexis Gritchenko, and the Works of Art Protection Committee under the Trinity Lavra of St. Sergius, which included Yury Olsufyev himself, Pavel Florensky, and Pavel Kapterev. Restoration work commenced on 28 November 28, 1918 and lasted until 2 January 2, 1919. It was carried out by I. Suslov, V. Tyulin, and G. Chirikov. All stages of the cleaning were recorded in detail in the Diary. Based on this records and Yury Olsufyev's personal observations, the summary of the works called Protocol No. 1 was created in 1925. These documents are kept in the Tretyakov Gallery archives. Some details and lines were restored, others were found damaged beyond restoration.Problems with the safe-keeping of The Trinity started in 1918–19 immediately after its cleaning. Twice a year, in spring and in autumn, humidity in the Trinity Cathedral increased and the icon was transferred to the so-called First Icon Depository. The continued changes in temperature and humidity affected its condition.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In the context of Trinity (Andrei Rublev), explain the In the Tretyakov Gallery and the History.

Before the October Revolution The Trinity remained in the Trinity Cathedral, but after the Soviet government sent it to the recently founded Central National Restoration Workshop. On 20 April 1920 the Council of People's Commissars issued a decree called About the Conversion of the Historical and Artistic Valuables of the Trinity Lavra of St. Sergius into a Museum (Russian: Об обращении в музей историко-художественных ценностей Троице-Сергиевой лавры). It handed the Lavra itself and all its collections over to the jurisdiction of the National Education Commissariat "for the purpose of democratization of artistic and historical buildings by transformation of said buildings and collections into museums". The Trinity ended up in the Zagorsk National Park & Museum of History and Arts. In 1929 the icon arrived to the Tretyakov Gallery in Moscow, while the copy made by Nikolai Baranov replaced the original in the iconostasis.The icon is kept in Andrei Rublev's room of the Tretyakov Gallery. It has left the Gallery only twice. First it happened in 1941 during World War II evacuation. It was temporarily moved to the Novosibirsk Opera and Ballet Theatre in Novosibirsk. On 17 May 1945 The Trinity was returned to the Tretyakov Gallery. In May 2007 The Trinity was taken out for the Europe-Russia-Europe exhibition, but a piece of the board was dislocated and had to be fixed and reinforced. Since 1997 the icon is moved every Pentecost from Andrei Rublev's room to the Tretyakov Gallery's church. It is placed under a special show-window with perfect temperature and humidity conditions. The first President of the Russian Federation Boris Yeltsin had an idea of handing the icon over back to the Church. However Valentin Yanin with an assistance of Yuri Melentyev, the Minister of Culture at that time, managed to meet with the President and made him change his mind. The matter concluded with a decree published in the Rossiyskaya Gazeta, The Trinity was declared a property of the Tretyakov Gallery forever.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Explain the In the Tretyakov Gallery about the History of this artwork, Trinity (Andrei Rublev).

Before the October Revolution The Trinity remained in the Trinity Cathedral, but after the Soviet government sent it to the recently founded Central National Restoration Workshop. On 20 April 1920 the Council of People's Commissars issued a decree called About the Conversion of the Historical and Artistic Valuables of the Trinity Lavra of St. Sergius into a Museum (Russian: Об обращении в музей историко-художественных ценностей Троице-Сергиевой лавры). It handed the Lavra itself and all its collections over to the jurisdiction of the National Education Commissariat "for the purpose of democratization of artistic and historical buildings by transformation of said buildings and collections into museums". The Trinity ended up in the Zagorsk National Park & Museum of History and Arts. In 1929 the icon arrived to the Tretyakov Gallery in Moscow, while the copy made by Nikolai Baranov replaced the original in the iconostasis.The icon is kept in Andrei Rublev's room of the Tretyakov Gallery. It has left the Gallery only twice. First it happened in 1941 during World War II evacuation. It was temporarily moved to the Novosibirsk Opera and Ballet Theatre in Novosibirsk. On 17 May 1945 The Trinity was returned to the Tretyakov Gallery. In May 2007 The Trinity was taken out for the Europe-Russia-Europe exhibition, but a piece of the board was dislocated and had to be fixed and reinforced. Since 1997 the icon is moved every Pentecost from Andrei Rublev's room to the Tretyakov Gallery's church. It is placed under a special show-window with perfect temperature and humidity conditions. The first President of the Russian Federation Boris Yeltsin had an idea of handing the icon over back to the Church. However Valentin Yanin with an assistance of Yuri Melentyev, the Minister of Culture at that time, managed to meet with the President and made him change his mind. The matter concluded with a decree published in the Rossiyskaya Gazeta, The Trinity was declared a property of the Tretyakov Gallery forever.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In Trinity (Andrei Rublev), how is the In the Tretyakov Gallery of the History explained?

Before the October Revolution The Trinity remained in the Trinity Cathedral, but after the Soviet government sent it to the recently founded Central National Restoration Workshop. On 20 April 1920 the Council of People's Commissars issued a decree called About the Conversion of the Historical and Artistic Valuables of the Trinity Lavra of St. Sergius into a Museum (Russian: Об обращении в музей историко-художественных ценностей Троице-Сергиевой лавры). It handed the Lavra itself and all its collections over to the jurisdiction of the National Education Commissariat "for the purpose of democratization of artistic and historical buildings by transformation of said buildings and collections into museums". The Trinity ended up in the Zagorsk National Park & Museum of History and Arts. In 1929 the icon arrived to the Tretyakov Gallery in Moscow, while the copy made by Nikolai Baranov replaced the original in the iconostasis.The icon is kept in Andrei Rublev's room of the Tretyakov Gallery. It has left the Gallery only twice. First it happened in 1941 during World War II evacuation. It was temporarily moved to the Novosibirsk Opera and Ballet Theatre in Novosibirsk. On 17 May 1945 The Trinity was returned to the Tretyakov Gallery. In May 2007 The Trinity was taken out for the Europe-Russia-Europe exhibition, but a piece of the board was dislocated and had to be fixed and reinforced. Since 1997 the icon is moved every Pentecost from Andrei Rublev's room to the Tretyakov Gallery's church. It is placed under a special show-window with perfect temperature and humidity conditions. The first President of the Russian Federation Boris Yeltsin had an idea of handing the icon over back to the Church. However Valentin Yanin with an assistance of Yuri Melentyev, the Minister of Culture at that time, managed to meet with the President and made him change his mind. The matter concluded with a decree published in the Rossiyskaya Gazeta, The Trinity was declared a property of the Tretyakov Gallery forever.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Describe the characteristics of the In the Tretyakov Gallery in Trinity (Andrei Rublev)'s History.

Before the October Revolution The Trinity remained in the Trinity Cathedral, but after the Soviet government sent it to the recently founded Central National Restoration Workshop. On 20 April 1920 the Council of People's Commissars issued a decree called About the Conversion of the Historical and Artistic Valuables of the Trinity Lavra of St. Sergius into a Museum (Russian: Об обращении в музей историко-художественных ценностей Троице-Сергиевой лавры). It handed the Lavra itself and all its collections over to the jurisdiction of the National Education Commissariat "for the purpose of democratization of artistic and historical buildings by transformation of said buildings and collections into museums". The Trinity ended up in the Zagorsk National Park & Museum of History and Arts. In 1929 the icon arrived to the Tretyakov Gallery in Moscow, while the copy made by Nikolai Baranov replaced the original in the iconostasis.The icon is kept in Andrei Rublev's room of the Tretyakov Gallery. It has left the Gallery only twice. First it happened in 1941 during World War II evacuation. It was temporarily moved to the Novosibirsk Opera and Ballet Theatre in Novosibirsk. On 17 May 1945 The Trinity was returned to the Tretyakov Gallery. In May 2007 The Trinity was taken out for the Europe-Russia-Europe exhibition, but a piece of the board was dislocated and had to be fixed and reinforced. Since 1997 the icon is moved every Pentecost from Andrei Rublev's room to the Tretyakov Gallery's church. It is placed under a special show-window with perfect temperature and humidity conditions. The first President of the Russian Federation Boris Yeltsin had an idea of handing the icon over back to the Church. However Valentin Yanin with an assistance of Yuri Melentyev, the Minister of Culture at that time, managed to meet with the President and made him change his mind. The matter concluded with a decree published in the Rossiyskaya Gazeta, The Trinity was declared a property of the Tretyakov Gallery forever.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In the context of Trinity (Andrei Rublev), explain the Move to the Lavra and the History.

In 2008, Levon Nersesyan, one of the Gallery staff members, revealed that Patriarch Alexy had requested the icon to be brought to the Lavra for the religious holiday in the summer of 2009. Most scholars agreed that the climate inside the Cathedral was unsuitable for the icon keeping, that candles, frankincense and the transportation could destroy it. The only person who supported the move was the director of the Gallery. All the other staff, art critics and art historians were against it. The director was accused of committing a misfeasance. Valentin Yanin said: "The Trinity is an outstanding work of art, a national patrimony, which should be available to people of all beliefs regardless of their religion. Outstanding works of art are supposed to be kept not inside churches for a narrow circle of parishioners to see, but in public museums."In July 2022, it was authorized to be moved to the Lavra, despite concerns about potential damage. On 15 May 2023, it was reported that the icon would be returned to the custody of the Russian Orthodox Church, by order of President Vladimir Putin. The Ministry of Culture's press service confirmed that the icon would be put on display at the Cathedral of Christ the Saviour in Moscow. Afterwards, it would be restored and returned to its traditional place in the Trinity Cathedral at the Trinity Lavra of St. Sergius. Yelizaveta Likhacheva, the director of the Pushkin Museum, warned that moving the icon carries the risk of it disintegrating.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Explain the Move to the Lavra about the History of this artwork, Trinity (Andrei Rublev).

In 2008, Levon Nersesyan, one of the Gallery staff members, revealed that Patriarch Alexy had requested the icon to be brought to the Lavra for the religious holiday in the summer of 2009. Most scholars agreed that the climate inside the Cathedral was unsuitable for the icon keeping, that candles, frankincense and the transportation could destroy it. The only person who supported the move was the director of the Gallery. All the other staff, art critics and art historians were against it. The director was accused of committing a misfeasance. Valentin Yanin said: "The Trinity is an outstanding work of art, a national patrimony, which should be available to people of all beliefs regardless of their religion. Outstanding works of art are supposed to be kept not inside churches for a narrow circle of parishioners to see, but in public museums."In July 2022, it was authorized to be moved to the Lavra, despite concerns about potential damage. On 15 May 2023, it was reported that the icon would be returned to the custody of the Russian Orthodox Church, by order of President Vladimir Putin. The Ministry of Culture's press service confirmed that the icon would be put on display at the Cathedral of Christ the Saviour in Moscow. Afterwards, it would be restored and returned to its traditional place in the Trinity Cathedral at the Trinity Lavra of St. Sergius. Yelizaveta Likhacheva, the director of the Pushkin Museum, warned that moving the icon carries the risk of it disintegrating.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In Trinity (Andrei Rublev), how is the Move to the Lavra of the History explained?

In 2008, Levon Nersesyan, one of the Gallery staff members, revealed that Patriarch Alexy had requested the icon to be brought to the Lavra for the religious holiday in the summer of 2009. Most scholars agreed that the climate inside the Cathedral was unsuitable for the icon keeping, that candles, frankincense and the transportation could destroy it. The only person who supported the move was the director of the Gallery. All the other staff, art critics and art historians were against it. The director was accused of committing a misfeasance. Valentin Yanin said: "The Trinity is an outstanding work of art, a national patrimony, which should be available to people of all beliefs regardless of their religion. Outstanding works of art are supposed to be kept not inside churches for a narrow circle of parishioners to see, but in public museums."In July 2022, it was authorized to be moved to the Lavra, despite concerns about potential damage. On 15 May 2023, it was reported that the icon would be returned to the custody of the Russian Orthodox Church, by order of President Vladimir Putin. The Ministry of Culture's press service confirmed that the icon would be put on display at the Cathedral of Christ the Saviour in Moscow. Afterwards, it would be restored and returned to its traditional place in the Trinity Cathedral at the Trinity Lavra of St. Sergius. Yelizaveta Likhacheva, the director of the Pushkin Museum, warned that moving the icon carries the risk of it disintegrating.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Describe the characteristics of the Move to the Lavra in Trinity (Andrei Rublev)'s History.

In 2008, Levon Nersesyan, one of the Gallery staff members, revealed that Patriarch Alexy had requested the icon to be brought to the Lavra for the religious holiday in the summer of 2009. Most scholars agreed that the climate inside the Cathedral was unsuitable for the icon keeping, that candles, frankincense and the transportation could destroy it. The only person who supported the move was the director of the Gallery. All the other staff, art critics and art historians were against it. The director was accused of committing a misfeasance. Valentin Yanin said: "The Trinity is an outstanding work of art, a national patrimony, which should be available to people of all beliefs regardless of their religion. Outstanding works of art are supposed to be kept not inside churches for a narrow circle of parishioners to see, but in public museums."In July 2022, it was authorized to be moved to the Lavra, despite concerns about potential damage. On 15 May 2023, it was reported that the icon would be returned to the custody of the Russian Orthodox Church, by order of President Vladimir Putin. The Ministry of Culture's press service confirmed that the icon would be put on display at the Cathedral of Christ the Saviour in Moscow. Afterwards, it would be restored and returned to its traditional place in the Trinity Cathedral at the Trinity Lavra of St. Sergius. Yelizaveta Likhacheva, the director of the Pushkin Museum, warned that moving the icon carries the risk of it disintegrating.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Focus on Trinity (Andrei Rublev) and explain the Conservation.

The present condition of The Trinity differs from its original condition. Changes were made to it at least as early as 1600, and most probably even earlier. The condition closest to the original one that the restorers managed to achieve was after the restoration of 1918. That restoration revealed most of Rublev's original work, but numerous traces of the work of Guryanov and of other centuries were preserved. The present surface is a combination of layers created during various time periods. The icon is presently strengthened by shponkas, i. e. small dowels that are used specifically for icons.Until July 2022, The Trinity was kept in a special glass cabinet in the museum under constant humidity and temperature conditions.The Tretyakov Gallery reported the present condition as "stable". There are persistent gaps between the ground and paint layers, especially in the margins. The primary problem is a vertical crack passing through the surface in the front, which a rupture between the first and second ground boards at an unknown time caused. Guryanov recorded the crack during his cleaning: a 1905 photograph depicts the crack as already present.The crack became noticeable in 1931 and was partially fixed in the spring of 1931. At that time, the gap reached 2 mm at the top part of the icon and 1 mm on the face of the right angel. Yury Olsufyev attempted repair by moving the icon to a special room with artificially induced high humidity of circa 70%. The gap between the boards closed almost completely in 1–5 months. By the summer of 1931 the progress of narrowing the gap via exposure to the humidity ceased. It was then decided to strengthen the layer of gesso and the layer of paint with mastic, and fill the gap with it.The restorers could not be certain how different layers of paint of different times might have reacted to the slightest ambient changes. The slightest climatic change may still cause unpredictable damage. The committee of restorers of the Tretyakov Gallery deliberated at length on various suggestions of how to further strengthen the icon, and on 10 November 2008 the committee concluded that the present, stable condition of the icon is not to be interfered with in any circumstance.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Explain the Conservation of this artwork, Trinity (Andrei Rublev).

The present condition of The Trinity differs from its original condition. Changes were made to it at least as early as 1600, and most probably even earlier. The condition closest to the original one that the restorers managed to achieve was after the restoration of 1918. That restoration revealed most of Rublev's original work, but numerous traces of the work of Guryanov and of other centuries were preserved. The present surface is a combination of layers created during various time periods. The icon is presently strengthened by shponkas, i. e. small dowels that are used specifically for icons.Until July 2022, The Trinity was kept in a special glass cabinet in the museum under constant humidity and temperature conditions.The Tretyakov Gallery reported the present condition as "stable". There are persistent gaps between the ground and paint layers, especially in the margins. The primary problem is a vertical crack passing through the surface in the front, which a rupture between the first and second ground boards at an unknown time caused. Guryanov recorded the crack during his cleaning: a 1905 photograph depicts the crack as already present.The crack became noticeable in 1931 and was partially fixed in the spring of 1931. At that time, the gap reached 2 mm at the top part of the icon and 1 mm on the face of the right angel. Yury Olsufyev attempted repair by moving the icon to a special room with artificially induced high humidity of circa 70%. The gap between the boards closed almost completely in 1–5 months. By the summer of 1931 the progress of narrowing the gap via exposure to the humidity ceased. It was then decided to strengthen the layer of gesso and the layer of paint with mastic, and fill the gap with it.The restorers could not be certain how different layers of paint of different times might have reacted to the slightest ambient changes. The slightest climatic change may still cause unpredictable damage. The committee of restorers of the Tretyakov Gallery deliberated at length on various suggestions of how to further strengthen the icon, and on 10 November 2008 the committee concluded that the present, stable condition of the icon is not to be interfered with in any circumstance.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: How does Trinity (Andrei Rublev) explain its Conservation?

The present condition of The Trinity differs from its original condition. Changes were made to it at least as early as 1600, and most probably even earlier. The condition closest to the original one that the restorers managed to achieve was after the restoration of 1918. That restoration revealed most of Rublev's original work, but numerous traces of the work of Guryanov and of other centuries were preserved. The present surface is a combination of layers created during various time periods. The icon is presently strengthened by shponkas, i. e. small dowels that are used specifically for icons.Until July 2022, The Trinity was kept in a special glass cabinet in the museum under constant humidity and temperature conditions.The Tretyakov Gallery reported the present condition as "stable". There are persistent gaps between the ground and paint layers, especially in the margins. The primary problem is a vertical crack passing through the surface in the front, which a rupture between the first and second ground boards at an unknown time caused. Guryanov recorded the crack during his cleaning: a 1905 photograph depicts the crack as already present.The crack became noticeable in 1931 and was partially fixed in the spring of 1931. At that time, the gap reached 2 mm at the top part of the icon and 1 mm on the face of the right angel. Yury Olsufyev attempted repair by moving the icon to a special room with artificially induced high humidity of circa 70%. The gap between the boards closed almost completely in 1–5 months. By the summer of 1931 the progress of narrowing the gap via exposure to the humidity ceased. It was then decided to strengthen the layer of gesso and the layer of paint with mastic, and fill the gap with it.The restorers could not be certain how different layers of paint of different times might have reacted to the slightest ambient changes. The slightest climatic change may still cause unpredictable damage. The committee of restorers of the Tretyakov Gallery deliberated at length on various suggestions of how to further strengthen the icon, and on 10 November 2008 the committee concluded that the present, stable condition of the icon is not to be interfered with in any circumstance.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In Trinity (Andrei Rublev), how is the Conservation discussed?

The present condition of The Trinity differs from its original condition. Changes were made to it at least as early as 1600, and most probably even earlier. The condition closest to the original one that the restorers managed to achieve was after the restoration of 1918. That restoration revealed most of Rublev's original work, but numerous traces of the work of Guryanov and of other centuries were preserved. The present surface is a combination of layers created during various time periods. The icon is presently strengthened by shponkas, i. e. small dowels that are used specifically for icons.Until July 2022, The Trinity was kept in a special glass cabinet in the museum under constant humidity and temperature conditions.The Tretyakov Gallery reported the present condition as "stable". There are persistent gaps between the ground and paint layers, especially in the margins. The primary problem is a vertical crack passing through the surface in the front, which a rupture between the first and second ground boards at an unknown time caused. Guryanov recorded the crack during his cleaning: a 1905 photograph depicts the crack as already present.The crack became noticeable in 1931 and was partially fixed in the spring of 1931. At that time, the gap reached 2 mm at the top part of the icon and 1 mm on the face of the right angel. Yury Olsufyev attempted repair by moving the icon to a special room with artificially induced high humidity of circa 70%. The gap between the boards closed almost completely in 1–5 months. By the summer of 1931 the progress of narrowing the gap via exposure to the humidity ceased. It was then decided to strengthen the layer of gesso and the layer of paint with mastic, and fill the gap with it.The restorers could not be certain how different layers of paint of different times might have reacted to the slightest ambient changes. The slightest climatic change may still cause unpredictable damage. The committee of restorers of the Tretyakov Gallery deliberated at length on various suggestions of how to further strengthen the icon, and on 10 November 2008 the committee concluded that the present, stable condition of the icon is not to be interfered with in any circumstance.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Focus on Trinity (Andrei Rublev) and explain the Copies.

There are two consecrated copies of The Trinity. By the Orthodox church tradition, the consecrated copy of an icon and the original (also called the protograph) are completely interchangeable.The Godunov's copy, commissioned by Boris Godunov in 1598–1600 for the purpose of moving the Ivan the Terrible riza to it. It was kept in the Trinity Cathedral of the Trinity Lavra of St. Sergius.The Baranov and Chirikov's copy, commissioned in 1926–28 for the International Icon Restoration Exhibition in 1929. It replaced the original icon after it had been moved to the Tretyakov Gallery in Moscow.Both icons are now kept in the iconostasis of the Trinity Cathedral in Sergiyev Posad.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: Explain the Copies of this artwork, Trinity (Andrei Rublev).

There are two consecrated copies of The Trinity. By the Orthodox church tradition, the consecrated copy of an icon and the original (also called the protograph) are completely interchangeable.The Godunov's copy, commissioned by Boris Godunov in 1598–1600 for the purpose of moving the Ivan the Terrible riza to it. It was kept in the Trinity Cathedral of the Trinity Lavra of St. Sergius.The Baranov and Chirikov's copy, commissioned in 1926–28 for the International Icon Restoration Exhibition in 1929. It replaced the original icon after it had been moved to the Tretyakov Gallery in Moscow.Both icons are now kept in the iconostasis of the Trinity Cathedral in Sergiyev Posad.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: How does Trinity (Andrei Rublev) explain its Copies?

There are two consecrated copies of The Trinity. By the Orthodox church tradition, the consecrated copy of an icon and the original (also called the protograph) are completely interchangeable.The Godunov's copy, commissioned by Boris Godunov in 1598–1600 for the purpose of moving the Ivan the Terrible riza to it. It was kept in the Trinity Cathedral of the Trinity Lavra of St. Sergius.The Baranov and Chirikov's copy, commissioned in 1926–28 for the International Icon Restoration Exhibition in 1929. It replaced the original icon after it had been moved to the Tretyakov Gallery in Moscow.Both icons are now kept in the iconostasis of the Trinity Cathedral in Sergiyev Posad.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Trinity (Andrei Rublev)

Prompt: In Trinity (Andrei Rublev), how is the Copies discussed?

There are two consecrated copies of The Trinity. By the Orthodox church tradition, the consecrated copy of an icon and the original (also called the protograph) are completely interchangeable.The Godunov's copy, commissioned by Boris Godunov in 1598–1600 for the purpose of moving the Ivan the Terrible riza to it. It was kept in the Trinity Cathedral of the Trinity Lavra of St. Sergius.The Baranov and Chirikov's copy, commissioned in 1926–28 for the International Icon Restoration Exhibition in 1929. It replaced the original icon after it had been moved to the Tretyakov Gallery in Moscow.Both icons are now kept in the iconostasis of the Trinity Cathedral in Sergiyev Posad.

File:Holy Trinity with Abraham N.Novgorod.jpg

The light patch on the robe of the right angel is the canvas which emerged during the cleaning from under Vasily Guryanov's new layer of paint. The 1918–19 photo.

File:Rublev's Trinity in HHS (05.06.2023) by shakko 01.jpg

Andrei Rublev's room in the [[Tretyakov Gallery

The crack passes through the face of the right angel, paint has ripped off in some places, and there are traces of nails that formerly affixed the riza to the icon.

Category:Paintings of Book of Genesis people

File:Rublev fresco, Vladimir cathedral 02.jpg

File:Hall N59 (icons) Tretyakov gallery - Rublev 02 by shakko.jpg

''The Old Testament with the Deeds'', a 17th-century icon. The composition includes a scene of Abraham meeting the angels and washing their feet, Sarah cooking dough, and the servant killing the calf. The angel takes [[Lot (biblical person)

The only remaining fresco painted by Andrei Rublev, inside the [[Dormition Cathedral, Vladimir

The icon on display at the [[Cathedral of Christ the Saviour

File:Rublev Trinity riza 01 (S. Posad) by shakko.jpg

''The Trinity'' as it could have been seen before 1904 (a [[photomontage

Л. Нерсесяна

Левон Нерсесян


Ginevra de' Benci

Prompt: Focus on Ginevra de' Benci and explain the abstract.

Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Explain the abstract of this artwork, Ginevra de' Benci.

Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: How does Ginevra de' Benci explain its abstract?

Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: In Ginevra de' Benci, how is the abstract discussed?

Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci (born c. 1458). It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Focus on Ginevra de' Benci and explain the Subject.

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the Latin motto Virtvtem Forma Decorat ("Beauty adorns virtue")—further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Explain the Subject of this artwork, Ginevra de' Benci.

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the Latin motto Virtvtem Forma Decorat ("Beauty adorns virtue")—further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: How does Ginevra de' Benci explain its Subject?

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the Latin motto Virtvtem Forma Decorat ("Beauty adorns virtue")—further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: In Ginevra de' Benci, how is the Subject discussed?

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the Latin motto Virtvtem Forma Decorat ("Beauty adorns virtue")—further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Focus on Ginevra de' Benci and explain the Trivia.

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: Explain the Trivia of this artwork, Ginevra de' Benci.

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: How does Ginevra de' Benci explain its Trivia?

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Ginevra de' Benci

Prompt: In Ginevra de' Benci, how is the Trivia discussed?

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo Landino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself.According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni.Ginevra's brother Giovanni (1456–1523) was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son.In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty Latin sentences signed VINCI, formed with the very same alphabetical letters of the motto VIRTVTEM FORMA DECORAT when supplemented with the Latin word iuniperus (juniper [sprig]). Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

File:Leonardo da Vinci - RCIN 912558, A study of a woman's hands c.1490.jpg

Franz Joseph II, Prince of Liechtenstein

File:Leonardo da Vinci - Wreath of Laurel, Palm, and Juniper with a Scroll inscribed Virtutem Forum Decorat (reverse) - Google Art Project.jpg

Category:Paintings in the National Gallery of Art

Lives of the Most Excellent Painters, Sculptors, and Architects

Leonardo da Vinci, ''Study of a Woman's Hands'', 1490


Beauty Revealed

Prompt: Focus on Beauty Revealed and explain the abstract.

Beauty Revealed is an 1828 self-portrait by the American artist Sarah Goodridge, a watercolor portrait miniature on a piece of ivory. Depicting only the artist's bared breasts surrounded by white cloth, the 6.7-by-8-centimeter (2.6 by 3.1 in) painting, originally backed with paper, is now in a modern frame. Goodridge, aged forty when she completed the miniature, depicts breasts that appear imbued with a "balance, paleness, and buoyancy" by the harmony of light, color, and balance. The surrounding cloth draws the viewer to focus on them, leading to the body being "erased".Goodridge gave the portrait to statesman Daniel Webster, who was a frequent subject and possibly a lover, following the death of his wife; she may have intended to provoke him into marrying her. Although Webster married someone else, his family held onto the portrait until the 1980s, when it was auctioned at Christie's and acquired by Gloria and Richard Manney in 1981. The couple donated or sold the miniatures of their art collection, including Beauty Revealed, to the Metropolitan Museum of Art in 2006.

Category:Paintings in the Metropolitan Museum of Art


Beauty Revealed

Prompt: Explain the abstract of this artwork, Beauty Revealed.

Beauty Revealed is an 1828 self-portrait by the American artist Sarah Goodridge, a watercolor portrait miniature on a piece of ivory. Depicting only the artist's bared breasts surrounded by white cloth, the 6.7-by-8-centimeter (2.6 by 3.1 in) painting, originally backed with paper, is now in a modern frame. Goodridge, aged forty when she completed the miniature, depicts breasts that appear imbued with a "balance, paleness, and buoyancy" by the harmony of light, color, and balance. The surrounding cloth draws the viewer to focus on them, leading to the body being "erased".Goodridge gave the portrait to statesman Daniel Webster, who was a frequent subject and possibly a lover, following the death of his wife; she may have intended to provoke him into marrying her. Although Webster married someone else, his family held onto the portrait until the 1980s, when it was auctioned at Christie's and acquired by Gloria and Richard Manney in 1981. The couple donated or sold the miniatures of their art collection, including Beauty Revealed, to the Metropolitan Museum of Art in 2006.

Category:Paintings in the Metropolitan Museum of Art


Beauty Revealed

Prompt: How does Beauty Revealed explain its abstract?

Beauty Revealed is an 1828 self-portrait by the American artist Sarah Goodridge, a watercolor portrait miniature on a piece of ivory. Depicting only the artist's bared breasts surrounded by white cloth, the 6.7-by-8-centimeter (2.6 by 3.1 in) painting, originally backed with paper, is now in a modern frame. Goodridge, aged forty when she completed the miniature, depicts breasts that appear imbued with a "balance, paleness, and buoyancy" by the harmony of light, color, and balance. The surrounding cloth draws the viewer to focus on them, leading to the body being "erased".Goodridge gave the portrait to statesman Daniel Webster, who was a frequent subject and possibly a lover, following the death of his wife; she may have intended to provoke him into marrying her. Although Webster married someone else, his family held onto the portrait until the 1980s, when it was auctioned at Christie's and acquired by Gloria and Richard Manney in 1981. The couple donated or sold the miniatures of their art collection, including Beauty Revealed, to the Metropolitan Museum of Art in 2006.

Category:Paintings in the Metropolitan Museum of Art


Beauty Revealed

Prompt: In Beauty Revealed, how is the abstract discussed?

Beauty Revealed is an 1828 self-portrait by the American artist Sarah Goodridge, a watercolor portrait miniature on a piece of ivory. Depicting only the artist's bared breasts surrounded by white cloth, the 6.7-by-8-centimeter (2.6 by 3.1 in) painting, originally backed with paper, is now in a modern frame. Goodridge, aged forty when she completed the miniature, depicts breasts that appear imbued with a "balance, paleness, and buoyancy" by the harmony of light, color, and balance. The surrounding cloth draws the viewer to focus on them, leading to the body being "erased".Goodridge gave the portrait to statesman Daniel Webster, who was a frequent subject and possibly a lover, following the death of his wife; she may have intended to provoke him into marrying her. Although Webster married someone else, his family held onto the portrait until the 1980s, when it was auctioned at Christie's and acquired by Gloria and Richard Manney in 1981. The couple donated or sold the miniatures of their art collection, including Beauty Revealed, to the Metropolitan Museum of Art in 2006.

Category:Paintings in the Metropolitan Museum of Art