Ansidei Madonna

Prompt: In Ansidei Madonna, how is the abstract discussed?

The Ansidei Madonna (Italian: Pala Ansidei) is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Focus on Ansidei Madonna and explain the The painting.

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the The painting of this artwork, Ansidei Madonna.

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: How does Ansidei Madonna explain its The painting?

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the The painting discussed?

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In the context of Ansidei Madonna, explain the Excellence through serenity and divinity and the The painting.

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child,Christ child through his secure faith in his mother,St. John through his contemplative expression of his spiritual journey,Bishop Nicholas of Bari through spiritual knowledge, andthe soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the Excellence through serenity and divinity about the The painting of this artwork, Ansidei Madonna.

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child,Christ child through his secure faith in his mother,St. John through his contemplative expression of his spiritual journey,Bishop Nicholas of Bari through spiritual knowledge, andthe soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the Excellence through serenity and divinity of the The painting explained?

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child,Christ child through his secure faith in his mother,St. John through his contemplative expression of his spiritual journey,Bishop Nicholas of Bari through spiritual knowledge, andthe soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Describe the characteristics of the Excellence through serenity and divinity in Ansidei Madonna's The painting.

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity:Madonna, by her complete devotion to her child,Christ child through his secure faith in his mother,St. John through his contemplative expression of his spiritual journey,Bishop Nicholas of Bari through spiritual knowledge, andthe soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In the context of Ansidei Madonna, explain the Young master and the The painting.

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the Young master about the The painting of this artwork, Ansidei Madonna.

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the Young master of the The painting explained?

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Describe the characteristics of the Young master in Ansidei Madonna's The painting.

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In the context of Ansidei Madonna, explain the Isolated characters of the Umbrian school and the The painting.

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Explain the Isolated characters of the Umbrian school about the The painting of this artwork, Ansidei Madonna.

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the Isolated characters of the Umbrian school of the The painting explained?

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Describe the characteristics of the Isolated characters of the Umbrian school in Ansidei Madonna's The painting.

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael

George Spencer-Churchill, 8th Duke of Marlborough


Ansidei Madonna

Prompt: Focus on Ansidei Madonna and explain the Commission and provenance.

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885.  At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael


Ansidei Madonna

Prompt: Explain the Commission and provenance of this artwork, Ansidei Madonna.

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885.  At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael


Ansidei Madonna

Prompt: How does Ansidei Madonna explain its Commission and provenance?

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885.  At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael


Ansidei Madonna

Prompt: In Ansidei Madonna, how is the Commission and provenance discussed?

Niccolò Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled "The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari (The Ansidei Madonna)" for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo, Perugia.Two paintings formed the predella for Raphael's altarpiece the "Ansidei Madonna." The first, "Saint John the Baptist Preaching", was placed beneath the image of Saint John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal, positioned below the Virgin and Child, and another below Saint Nicholas of one of his miracles have not survived.There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", of the Blenheim Collection was sold by George Spencer-Churchill, 8th Duke of Marlborough, under the Lord Cairn's Act for £75,000 or nearly unanimously cited at £70,000, which was about $350,000, to the London National Gallery in 1885.  At the time, this was three times the highest amount paid for a painting, likely in large part because there were few Raphael paintings placed in foreign galleries at that time.

Category:Paintings in the National Gallery, London

Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London

File:Raphael - Saint John the Baptist Preaching.JPG

Category:Paintings of the Madonna and Child by Raphael


Christ Among the Doctors (Dürer)

Prompt: Focus on Christ Among the Doctors (Dürer) and explain the abstract.

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the abstract of this artwork, Christ Among the Doctors (Dürer).

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: How does Christ Among the Doctors (Dürer) explain its abstract?

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the abstract discussed?

Christ among the Doctors is an oil painting by Albrecht Dürer, dating to 1506, now in the Museo Thyssen-Bornemisza, Madrid, Spain. The work belongs to the time of Dürer's sojourn in Italy, and was according to its inscription executed incidentally in five days while he was working on the Feast of the Rosary altarpiece in Venice. The work was influenced by Leonardo da Vinci and possibly based on the most probably earlier painting by Cima da Conegliano on the same theme.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Focus on Christ Among the Doctors (Dürer) and explain the Conception.

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the Gospel of Luke (2:41–52). On an annual pilgrimage of the holy family to Jerusalem for Passover the twelve-year-old child got lost and found again after three days in a temple debating with scholars executing His Father's business.The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych (1494–1497) executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple (c. 1454, Berlin) and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands (and books) even more.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Conception of this artwork, Christ Among the Doctors (Dürer).

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the Gospel of Luke (2:41–52). On an annual pilgrimage of the holy family to Jerusalem for Passover the twelve-year-old child got lost and found again after three days in a temple debating with scholars executing His Father's business.The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych (1494–1497) executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple (c. 1454, Berlin) and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands (and books) even more.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: How does Christ Among the Doctors (Dürer) explain its Conception?

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the Gospel of Luke (2:41–52). On an annual pilgrimage of the holy family to Jerusalem for Passover the twelve-year-old child got lost and found again after three days in a temple debating with scholars executing His Father's business.The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych (1494–1497) executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple (c. 1454, Berlin) and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands (and books) even more.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Conception discussed?

The topic of the panel painting is the Finding in the Temple episode from Jesus' childhood, found in the Gospel of Luke (2:41–52). On an annual pilgrimage of the holy family to Jerusalem for Passover the twelve-year-old child got lost and found again after three days in a temple debating with scholars executing His Father's business.The subject had already been treated by Dürer in a panel of the Seven Sorrows Polyptych (1494–1497) executed by his workshop, and about ten years later in a woodcut of the Life of the Virgin series. However, in this work the German artist adopted a dense composition of half-figures, which was introduced by Andrea Mantegna in his The Presentation at the Temple (c. 1454, Berlin) and afterwards present in all Northern Italian schools including Venice. Though Dürer emphasised the focus on faces and hands (and books) even more.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the Preparatory drawings and the Conception.

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper (carta azzurra). The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head (originally with the head of the lute playing angel for the Rosary panel on one sheet now cut) and a hand holding a book (both in the Albertina, Wien), a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture (both in the Germanische Nationalmuseum, Nuremberg).The four preparatory brush drawings on blue Venetian paper (1506)

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Preparatory drawings about the Conception of this artwork, Christ Among the Doctors (Dürer).

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper (carta azzurra). The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head (originally with the head of the lute playing angel for the Rosary panel on one sheet now cut) and a hand holding a book (both in the Albertina, Wien), a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture (both in the Germanische Nationalmuseum, Nuremberg).The four preparatory brush drawings on blue Venetian paper (1506)

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Preparatory drawings of the Conception explained?

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper (carta azzurra). The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head (originally with the head of the lute playing angel for the Rosary panel on one sheet now cut) and a hand holding a book (both in the Albertina, Wien), a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture (both in the Germanische Nationalmuseum, Nuremberg).The four preparatory brush drawings on blue Venetian paper (1506)

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the Preparatory drawings in Christ Among the Doctors (Dürer)'s Conception.

Not until his second journey to Italy Dürer made detailed studies after living models before he worked out a final composition for paintings and engravings alike. The first preparatory drawings originate in Venice, all in the same technique: dark ink drawn with a brush, highlighted with white tempera, on large sheets of Venetian blue dyed paper (carta azzurra). The blue color serves as a middle tone, a method he formerly applied in the Green Passion of 1504, and in drawings where he washed the background around the figures to obtain the same effect. Four preparatory drawings for the painting have survived, one of the infant's head (originally with the head of the lute playing angel for the Rosary panel on one sheet now cut) and a hand holding a book (both in the Albertina, Wien), a study of the hands counting off arguments, and a further drawing with two pairs of hands holding a book, of which only one Dürer finally incorporated into the picture (both in the Germanische Nationalmuseum, Nuremberg).The four preparatory brush drawings on blue Venetian paper (1506)

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the The manner of painting and the Conception.

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the The manner of painting about the Conception of this artwork, Christ Among the Doctors (Dürer).

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the The manner of painting of the Conception explained?

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the The manner of painting in Christ Among the Doctors (Dürer)'s Conception.

The panel of Jesus among the Doctors has a usual underdrawing grounded with egg-tempera, but covered by just a tenuous layer of oil paint. In fact, it is made "in an almost impromptu fashion, a thin coat of color being applied in broad and fluid strokes utterly different from Dürer's normally meticulous brushwork," as Erwin Panofsky described it. Christof Metzger, chief curator of the Graphic Collection at the Albertina in Vienna, stated that the panel wasn't even finished. Both pairs of hands in the center show still the outlines and hatches of the underdrawing and are hardly colored at all. The two heads in the background, the one in the upper right corner and the one who is looking out of the picture appear unfinished. Copies of the panel in Germany from around 1600 serve as evidence that the image was known north of the Alps, so that Dürer might have brought the painting back with him to Nuremberg.The color palette is rather narrow, essentially two green tones for the cloaks of Jesus and two of the scholars, and a range of brown tones, from the darkened faces in the shadowy back, the book covers and the red cloak of the doctor on the right, the yellowish cap of the figure on the left, to the lighter skin colors and the broken white tones of hair, paper, and the chemise poking out at the wrist on the lower left corner and at the right hand of the doctor in profile; his cap finally is the largest bright part of the composition. The color range is expressively restrained compared to his interpretation on the altar-piece of the Seven Sorrows or the splendour of the Feast of the Rosary and the rich color conception of Italian Renaissance art.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the "Made in five days" and the Conception.

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque (cartellino) or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church (which brought him immediate fame that also radiated back to Nuremberg). And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech" (seltsame Red) even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" (Panofsky), in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" (Und diese Gab ist wunderlich), Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the "Made in five days" about the Conception of this artwork, Christ Among the Doctors (Dürer).

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque (cartellino) or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church (which brought him immediate fame that also radiated back to Nuremberg). And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech" (seltsame Red) even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" (Panofsky), in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" (Und diese Gab ist wunderlich), Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the "Made in five days" of the Conception explained?

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque (cartellino) or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church (which brought him immediate fame that also radiated back to Nuremberg). And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech" (seltsame Red) even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" (Panofsky), in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" (Und diese Gab ist wunderlich), Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the "Made in five days" in Christ Among the Doctors (Dürer)'s Conception.

As usual Dürer signed his work with his monogram and a date, displayed on an object within the scenery, like a little plaque (cartellino) or a piece of paper, a veristic device to invite the beholder into the picture space and hence into the depicted drama, instead of just signing an essentially two-dimensional composition of brush strokes on the surface of a piece of wood. The inscription in Jesus among the Doctors is written on a bookmarker that sticks out of the folio at the bottom of the picture on the left. It reads: 1506/A. D./Opus quinque dierum, "made in five days".He produced the picture in this indeed rather short time to finish an oil painting, so that it was worth the inscription, probably due to the fact, that he prominently had to work on the Feast of the Rosary, commissioned by the German community in Venice residing at the Fondaco dei Tedeschi for their church (which brought him immediate fame that also radiated back to Nuremberg). And with the Virgin with the Siskin and several commissioned portraits there was plenty of work to be done. But the inscription cannot have taken into account the time of the conception, not the preparatory studies nor the underdrawing. The "five days" may be also an ironic allusion to the "five month" he needed to finish the Rosary altarpiece, as he wrote in its inscription.Opposing the two paintings reveals two kinds of work, done in different "modes of creation", the certainly more accomplished altarpiece was meticulously planned and executed, while the other was done swiftly following an instant inspiration, like a stroke of a genius. Dürer much later expressed this "unheard of" idea, as he wrote in a "strange speech" (seltsame Red) even for him, that some artist may sketch something in one day, that another won't achieve in a year, thus establishing a new "purely artistic" evaluation of an artwork, instead of the material needed and the amount of time spent. Unlike Alberti, whose writings he studied, Dürer became aware the "fundamental difference between the aesthetic value of the object represented in a work of art, and the aesthetic value of the work of art itself" (Panofsky), in which something ugly could be depicted beautifully by an able hand. "And this gift is miraculous" (Und diese Gab ist wunderlich), Dürer said. He was well aware of his exceptional talent already at an early age and it is surely the main motivation behind his trademark monogram, besides his copyright concerns related to his printed work. However he even signed his preparatory drawings with it, which would have otherwise been unnecessary.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Focus on Christ Among the Doctors (Dürer) and explain the Imagery of the figures.

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish" (Panofsky) staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a cartouche on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture (in fact, slightly off), summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Imagery of the figures of this artwork, Christ Among the Doctors (Dürer).

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish" (Panofsky) staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a cartouche on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture (in fact, slightly off), summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: How does Christ Among the Doctors (Dürer) explain its Imagery of the figures?

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish" (Panofsky) staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a cartouche on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture (in fact, slightly off), summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Imagery of the figures discussed?

The characters occupy the whole panel submerged in a dark background intensifying the tense atmosphere. Especially when compared to his former interpretations of the scene with their spacious compositions and traditional conception, the almost "nightmarish" (Panofsky) staging becomes evident. Here, the young Jesus is besieged by six philosophers surrounding him, arranged on at least four different planes, each with different skin texture, pose and expression, like character studies. They stand in stark contrast to the entirely soft and restraint appearance of the innocent child. Even his halo is not displayed as a golden disc, instead delicate golden lines emanate from his head in form of a faceted cross, like he was illuminated by divine light. So he stands steadfast in the central axis of the picture contemplating his arguments and counting them off on his fingers, while the doctors keep to the books in their hands ready to cite from them.Each of the doctors reacts differently to the words of Jesus. The one on the upper left is depicted with the head over his eyes literally blind to the new thoughts, stubbornly buried into the scripture. The man on the lower left with a cartouche on his beret, a customary depiction of the Pharisees, on the contrary has closed his book and begins to pay attention trying to fathom the Child's arguments. The oldest of the philosophers seen in profile on the right next to Jesus refutes his thoughts and even gets physical with his imposing hands that interrupt the child's argumentative gesture. These two pairs of hands form a kind of ornament in the center of the picture (in fact, slightly off), summarizing the panel's theme in an abstract way. Gesturing hands were a characteristic Italian motif for the representation of scholars and teachers.The head of the "wicked old scholar" shown in profile "can hardly be imagined without some knowledge" of the caricature drawings by Leonardo da Vinci. The way he displayed the discussion and the contrasting depiction of "extreme beauty and extreme ugliness" Dürer may as well have been following Leonardo's instructions in his Trattato della Pintura. In fact, the treatise was known in Venice, and probably to Dürer, too. And although Leonardo was in Milan at the time, Dürer went to Florence for a short period and probably visited Leonardo's workshop, where his apprentices were still busy, so he could have seen into his work.The display of the grotesque was seen everywhere in northern medieval culture, from the gargoyles and capitals of the great cathedrals to the tableaux vivants, the open-air mystery plays and comedic theatre with their amateur actors grimacing and distorting their bodies, that inspired artists to adopt them primarily for miniatures in illuminated texts. But they didn't appear to necessarily have a moral inclination, instead they were a lively expression of the variety of God's creation. This tradition was carried on by Dürer's contemporaries, prominently by his colleague Hieronymus Bosch or in the countless farces of Hans Sachs. And it is known through his letters, that Dürer could be vulgar himself. Bialostocki concluded: "When achieving some incidental glimpses of Leonardo's bizarre inventions, northern artists saw in them only what they wished to see: their own tradition. And this northern tradition is dominant in the physiognomical repertoire of Dürer's [Lugano] picture."Dürer himself adopted some crucial ideas of the Italian Renaissance esthetic but did not orient his work wholeheartedly towards it either. He came to understand art as a science, particularly owed to Leonardo, but his Jesus among the Doctors has no part in this, and therefore is often seen as "Gothic" still. The Child's goodness Dürer expresses through its gratefulness, but he refused the Italian concept of ideal beauty derived from the antique. He was convinced that beauty was manyfold and relative to the individual eye, only God could know absolute beauty. Instead he emphasised the moral imacculacy of the young Jesus with the immediate juxtaposition of the old and ugly. And maybe he felt confirmed by Leonardo in this matter.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the Mantegna and Bellini and the The tradition of the composition.

The conception of a composition with several half-figures (maximal height) in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph (slightly subordinated in the center) and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife (since the woman is to young to be the 84-year-old Hannah of the story, who propagates the news). Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait (including Mantegna).Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his (disputed) first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" ("Er ist sehr alt und ist noch, der best in Gemäl"). At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. (The angel's head Dürer had prepared with a study drawn on the same sheet of Venetian paper as the head of the young Christ, now separated.)The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling sacra conversazione, the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''