Madonna of the Yarnwinder

Prompt: Describe the characteristics of the Theft and recovery in Madonna of the Yarnwinder's Buccleuch Madonna.

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, Lancashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonna's recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland (now the Scottish National Gallery) in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier. In 2015, the judge, Lord Brailsford, ruled these "arrangements were no more than a scheme designed and controlled by the police in an attempt to obtain the return of the stolen property" and rejected Ronald's claim against the Duke, who said "my involvement in supporting the 'sting' operation which involved an undercover police officer was entirely at the request of and under the direction of the police".

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: Focus on Madonna of the Yarnwinder and explain the Lansdowne Madonna.

The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of Lansdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of Lansdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of Lansdowne's collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand.The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. He concluded that the Christ child and the landscape were by Leonardo and the remainder was by a Milanese pupil. During a loan to the New York World's Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford's family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna (as a Leonardo) to its current owner, an anonymous private collector, in 1999.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: Explain the Lansdowne Madonna of this artwork, Madonna of the Yarnwinder.

The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of Lansdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of Lansdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of Lansdowne's collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand.The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. He concluded that the Christ child and the landscape were by Leonardo and the remainder was by a Milanese pupil. During a loan to the New York World's Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford's family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna (as a Leonardo) to its current owner, an anonymous private collector, in 1999.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: How does Madonna of the Yarnwinder explain its Lansdowne Madonna?

The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of Lansdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of Lansdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of Lansdowne's collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand.The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. He concluded that the Christ child and the landscape were by Leonardo and the remainder was by a Milanese pupil. During a loan to the New York World's Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford's family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna (as a Leonardo) to its current owner, an anonymous private collector, in 1999.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: In Madonna of the Yarnwinder, how is the Lansdowne Madonna discussed?

The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of Lansdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of Lansdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of Lansdowne's collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand.The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. He concluded that the Christ child and the landscape were by Leonardo and the remainder was by a Milanese pupil. During a loan to the New York World's Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford's family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna (as a Leonardo) to its current owner, an anonymous private collector, in 1999.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: Focus on Madonna of the Yarnwinder and explain the Influence and copies.

Nearly forty versions of the Madonna of the Yarnwinder made by pupils and followers of Leonardo survive today. Many show elements which were discarded as the prime version, or versions, evolved over a long period of time. Some include the figure group in the middle ground visible in the Buccleuch and Lansdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. Some artists elaborated on Leonardo's composition with the addition of still lives or extra figures.The Madonna of the Yarnwinder’s composition was especially popular in Spain, where it might have been brought over by Fernando Yáñez de la Almedina or Hernando de los Llanos (whose name also appears as Fernando de Llanos). Both painters were trained in Florence in the first years of the 16th century, and either might be the “Ferrando spagnolo” mentioned as a pupil of Leonardo when the master was working on the fresco of the Battle of Anghiari in the Palazzo della Signoria in 1505.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: Explain the Influence and copies of this artwork, Madonna of the Yarnwinder.

Nearly forty versions of the Madonna of the Yarnwinder made by pupils and followers of Leonardo survive today. Many show elements which were discarded as the prime version, or versions, evolved over a long period of time. Some include the figure group in the middle ground visible in the Buccleuch and Lansdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. Some artists elaborated on Leonardo's composition with the addition of still lives or extra figures.The Madonna of the Yarnwinder’s composition was especially popular in Spain, where it might have been brought over by Fernando Yáñez de la Almedina or Hernando de los Llanos (whose name also appears as Fernando de Llanos). Both painters were trained in Florence in the first years of the 16th century, and either might be the “Ferrando spagnolo” mentioned as a pupil of Leonardo when the master was working on the fresco of the Battle of Anghiari in the Palazzo della Signoria in 1505.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: How does Madonna of the Yarnwinder explain its Influence and copies?

Nearly forty versions of the Madonna of the Yarnwinder made by pupils and followers of Leonardo survive today. Many show elements which were discarded as the prime version, or versions, evolved over a long period of time. Some include the figure group in the middle ground visible in the Buccleuch and Lansdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. Some artists elaborated on Leonardo's composition with the addition of still lives or extra figures.The Madonna of the Yarnwinder’s composition was especially popular in Spain, where it might have been brought over by Fernando Yáñez de la Almedina or Hernando de los Llanos (whose name also appears as Fernando de Llanos). Both painters were trained in Florence in the first years of the 16th century, and either might be the “Ferrando spagnolo” mentioned as a pupil of Leonardo when the master was working on the fresco of the Battle of Anghiari in the Palazzo della Signoria in 1505.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: In Madonna of the Yarnwinder, how is the Influence and copies discussed?

Nearly forty versions of the Madonna of the Yarnwinder made by pupils and followers of Leonardo survive today. Many show elements which were discarded as the prime version, or versions, evolved over a long period of time. Some include the figure group in the middle ground visible in the Buccleuch and Lansdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. Some artists elaborated on Leonardo's composition with the addition of still lives or extra figures.The Madonna of the Yarnwinder’s composition was especially popular in Spain, where it might have been brought over by Fernando Yáñez de la Almedina or Hernando de los Llanos (whose name also appears as Fernando de Llanos). Both painters were trained in Florence in the first years of the 16th century, and either might be the “Ferrando spagnolo” mentioned as a pupil of Leonardo when the master was working on the fresco of the Battle of Anghiari in the Palazzo della Signoria in 1505.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: In the context of Madonna of the Yarnwinder, explain the List of copies and the Influence and copies.

Madonna of the Yarnwinder (drawing after Leonardo), Uffizi, Florence.Madonna of the Yarnwinder, Musée des Beaux-Arts de Dijon.Madonna with the Yarnwinder, formerly Wood Prince Collection, Chicago.Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh.Fernando Yáñez de la Almedina, The Holy Family (1523), formerly in the Carlos Grether collection, Buenos AiresAttributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Museo de Bellas Artes, MurciaAttributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John (c. 1505), National Gallery of Art, Washington, D.C.Hernando de los Llanos, Rest on the Flight into Egypt (1507), Valencia Cathedral.Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MAMadonna of the Yarnwinder, Granada Cathedral.Madonna of the Yarnwinder (c. 1510–30), Apsley House, London.Madonna of the Yarnwinder, Museo Soumaya, Mexico City.Madonna of the Yarnwinder, Prince's Palace of Monaco.Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich.Madonna of the Yarnwinder in a Rocky Landscape, Christ Church Picture Gallery, Oxford.Madonna of the Yarnwinder (c. 1510–20), Louvre, Paris.Madonna of the Yarnwinder, follower of Leonardo da Vinci, circa 1500, unfinished. Private collection, Italy.Madonna of the Yarnwinder (19th century), Penrith and Eden Museum, Penrith.Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections.Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection.Madonna of the Yarnwinder with Cherries and an Apple, three versions in private collections.Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome.Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba.Luis de Morales, Madonna of the Yarnwinder (1560s), Staatliche Museen zu Berlin.Luis de Morales, Madonna of the Yarnwinder (1560s), Royal Palace of Madrid.Luis de Morales, Madonna of the Yarnwinder (1560s), Hispanic Society of America, New York City.Luis de Morales, Madonna of the Yarnwinder (1560s), Hermitage Museum, St Petersburg.Madonna of the Yarnwinder (first decade of the 16th century), Museo Palazzo Costa, Piacenza.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: Explain the List of copies about the Influence and copies of this artwork, Madonna of the Yarnwinder.

Madonna of the Yarnwinder (drawing after Leonardo), Uffizi, Florence.Madonna of the Yarnwinder, Musée des Beaux-Arts de Dijon.Madonna with the Yarnwinder, formerly Wood Prince Collection, Chicago.Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh.Fernando Yáñez de la Almedina, The Holy Family (1523), formerly in the Carlos Grether collection, Buenos AiresAttributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Museo de Bellas Artes, MurciaAttributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John (c. 1505), National Gallery of Art, Washington, D.C.Hernando de los Llanos, Rest on the Flight into Egypt (1507), Valencia Cathedral.Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MAMadonna of the Yarnwinder, Granada Cathedral.Madonna of the Yarnwinder (c. 1510–30), Apsley House, London.Madonna of the Yarnwinder, Museo Soumaya, Mexico City.Madonna of the Yarnwinder, Prince's Palace of Monaco.Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich.Madonna of the Yarnwinder in a Rocky Landscape, Christ Church Picture Gallery, Oxford.Madonna of the Yarnwinder (c. 1510–20), Louvre, Paris.Madonna of the Yarnwinder, follower of Leonardo da Vinci, circa 1500, unfinished. Private collection, Italy.Madonna of the Yarnwinder (19th century), Penrith and Eden Museum, Penrith.Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections.Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection.Madonna of the Yarnwinder with Cherries and an Apple, three versions in private collections.Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome.Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba.Luis de Morales, Madonna of the Yarnwinder (1560s), Staatliche Museen zu Berlin.Luis de Morales, Madonna of the Yarnwinder (1560s), Royal Palace of Madrid.Luis de Morales, Madonna of the Yarnwinder (1560s), Hispanic Society of America, New York City.Luis de Morales, Madonna of the Yarnwinder (1560s), Hermitage Museum, St Petersburg.Madonna of the Yarnwinder (first decade of the 16th century), Museo Palazzo Costa, Piacenza.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: In Madonna of the Yarnwinder, how is the List of copies of the Influence and copies explained?

Madonna of the Yarnwinder (drawing after Leonardo), Uffizi, Florence.Madonna of the Yarnwinder, Musée des Beaux-Arts de Dijon.Madonna with the Yarnwinder, formerly Wood Prince Collection, Chicago.Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh.Fernando Yáñez de la Almedina, The Holy Family (1523), formerly in the Carlos Grether collection, Buenos AiresAttributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Museo de Bellas Artes, MurciaAttributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John (c. 1505), National Gallery of Art, Washington, D.C.Hernando de los Llanos, Rest on the Flight into Egypt (1507), Valencia Cathedral.Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MAMadonna of the Yarnwinder, Granada Cathedral.Madonna of the Yarnwinder (c. 1510–30), Apsley House, London.Madonna of the Yarnwinder, Museo Soumaya, Mexico City.Madonna of the Yarnwinder, Prince's Palace of Monaco.Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich.Madonna of the Yarnwinder in a Rocky Landscape, Christ Church Picture Gallery, Oxford.Madonna of the Yarnwinder (c. 1510–20), Louvre, Paris.Madonna of the Yarnwinder, follower of Leonardo da Vinci, circa 1500, unfinished. Private collection, Italy.Madonna of the Yarnwinder (19th century), Penrith and Eden Museum, Penrith.Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections.Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection.Madonna of the Yarnwinder with Cherries and an Apple, three versions in private collections.Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome.Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba.Luis de Morales, Madonna of the Yarnwinder (1560s), Staatliche Museen zu Berlin.Luis de Morales, Madonna of the Yarnwinder (1560s), Royal Palace of Madrid.Luis de Morales, Madonna of the Yarnwinder (1560s), Hispanic Society of America, New York City.Luis de Morales, Madonna of the Yarnwinder (1560s), Hermitage Museum, St Petersburg.Madonna of the Yarnwinder (first decade of the 16th century), Museo Palazzo Costa, Piacenza.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Madonna of the Yarnwinder

Prompt: Describe the characteristics of the List of copies in Madonna of the Yarnwinder's Influence and copies.

Madonna of the Yarnwinder (drawing after Leonardo), Uffizi, Florence.Madonna of the Yarnwinder, Musée des Beaux-Arts de Dijon.Madonna with the Yarnwinder, formerly Wood Prince Collection, Chicago.Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh.Fernando Yáñez de la Almedina, The Holy Family (1523), formerly in the Carlos Grether collection, Buenos AiresAttributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Museo de Bellas Artes, MurciaAttributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John (c. 1505), National Gallery of Art, Washington, D.C.Hernando de los Llanos, Rest on the Flight into Egypt (1507), Valencia Cathedral.Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MAMadonna of the Yarnwinder, Granada Cathedral.Madonna of the Yarnwinder (c. 1510–30), Apsley House, London.Madonna of the Yarnwinder, Museo Soumaya, Mexico City.Madonna of the Yarnwinder, Prince's Palace of Monaco.Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich.Madonna of the Yarnwinder in a Rocky Landscape, Christ Church Picture Gallery, Oxford.Madonna of the Yarnwinder (c. 1510–20), Louvre, Paris.Madonna of the Yarnwinder, follower of Leonardo da Vinci, circa 1500, unfinished. Private collection, Italy.Madonna of the Yarnwinder (19th century), Penrith and Eden Museum, Penrith.Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections.Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection.Madonna of the Yarnwinder with Cherries and an Apple, three versions in private collections.Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome.Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba.Luis de Morales, Madonna of the Yarnwinder (1560s), Staatliche Museen zu Berlin.Luis de Morales, Madonna of the Yarnwinder (1560s), Royal Palace of Madrid.Luis de Morales, Madonna of the Yarnwinder (1560s), Hispanic Society of America, New York City.Luis de Morales, Madonna of the Yarnwinder (1560s), Hermitage Museum, St Petersburg.Madonna of the Yarnwinder (first decade of the 16th century), Museo Palazzo Costa, Piacenza.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Madonna of the Yarnwinder.jpg

File:Couple of the Madonna of the Yarnwinder.jpg

The ''Lansdowne Madonna'' (left) and the ''Buccleuch Madonna'' (right) at the monumental 2019–2020 exhibition ''Léonard de Vinci'' at the [[Louvre

Category:Paintings in National Galleries Scotland

Category:Paintings of the Madonna and Child by Leonardo da Vinci


The Dream of the Fisherman's Wife

Prompt: Focus on The Dream of the Fisherman's Wife and explain the abstract.

The Dream of the Fisherman's Wife (Japanese: 蛸と海女, Hepburn: Tako to Ama, "Octopus(es) and the Shell Diver"), also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in Kinoe no Komatsu ('Young Pines'), a three-volume book of shunga erotica first published in 1814, and has become Hokusai's most famous shunga design. Playing with themes popular in Japanese art, it depicts a young ama diver entwined sexually with a pair of octopuses.

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Explain the abstract of this artwork, The Dream of the Fisherman's Wife.

The Dream of the Fisherman's Wife (Japanese: 蛸と海女, Hepburn: Tako to Ama, "Octopus(es) and the Shell Diver"), also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in Kinoe no Komatsu ('Young Pines'), a three-volume book of shunga erotica first published in 1814, and has become Hokusai's most famous shunga design. Playing with themes popular in Japanese art, it depicts a young ama diver entwined sexually with a pair of octopuses.

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: How does The Dream of the Fisherman's Wife explain its abstract?

The Dream of the Fisherman's Wife (Japanese: 蛸と海女, Hepburn: Tako to Ama, "Octopus(es) and the Shell Diver"), also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in Kinoe no Komatsu ('Young Pines'), a three-volume book of shunga erotica first published in 1814, and has become Hokusai's most famous shunga design. Playing with themes popular in Japanese art, it depicts a young ama diver entwined sexually with a pair of octopuses.

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: In The Dream of the Fisherman's Wife, how is the abstract discussed?

The Dream of the Fisherman's Wife (Japanese: 蛸と海女, Hepburn: Tako to Ama, "Octopus(es) and the Shell Diver"), also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in Kinoe no Komatsu ('Young Pines'), a three-volume book of shunga erotica first published in 1814, and has become Hokusai's most famous shunga design. Playing with themes popular in Japanese art, it depicts a young ama diver entwined sexually with a pair of octopuses.

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Focus on The Dream of the Fisherman's Wife and explain the History and description.

The Dream of the Fisherman's Wife is the most famous image in Kinoe no Komatsu, published in three volumes from 1814. The book is a work of shunga (erotic art) within the ukiyo-e genre. The image depicts a woman, evidently an ama (a shell diver), enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual pleasure from the encounter.All designs in the publication are untitled; this design is generally known in Japanese as Tako to ama, translated variously into English. Richard Douglas Lane calls it Girl Diver and Octopi; Matthi Forrer calls it Pearl Diver and Two Octopi [sic]; and Danielle Talerico calls it Diver and Two Octopuses. The open book measures 16.51 cm × 22.23 cm (6.50 in × 8.75 in).

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Explain the History and description of this artwork, The Dream of the Fisherman's Wife.

The Dream of the Fisherman's Wife is the most famous image in Kinoe no Komatsu, published in three volumes from 1814. The book is a work of shunga (erotic art) within the ukiyo-e genre. The image depicts a woman, evidently an ama (a shell diver), enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual pleasure from the encounter.All designs in the publication are untitled; this design is generally known in Japanese as Tako to ama, translated variously into English. Richard Douglas Lane calls it Girl Diver and Octopi; Matthi Forrer calls it Pearl Diver and Two Octopi [sic]; and Danielle Talerico calls it Diver and Two Octopuses. The open book measures 16.51 cm × 22.23 cm (6.50 in × 8.75 in).

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: How does The Dream of the Fisherman's Wife explain its History and description?

The Dream of the Fisherman's Wife is the most famous image in Kinoe no Komatsu, published in three volumes from 1814. The book is a work of shunga (erotic art) within the ukiyo-e genre. The image depicts a woman, evidently an ama (a shell diver), enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual pleasure from the encounter.All designs in the publication are untitled; this design is generally known in Japanese as Tako to ama, translated variously into English. Richard Douglas Lane calls it Girl Diver and Octopi; Matthi Forrer calls it Pearl Diver and Two Octopi [sic]; and Danielle Talerico calls it Diver and Two Octopuses. The open book measures 16.51 cm × 22.23 cm (6.50 in × 8.75 in).

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: In The Dream of the Fisherman's Wife, how is the History and description discussed?

The Dream of the Fisherman's Wife is the most famous image in Kinoe no Komatsu, published in three volumes from 1814. The book is a work of shunga (erotic art) within the ukiyo-e genre. The image depicts a woman, evidently an ama (a shell diver), enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual pleasure from the encounter.All designs in the publication are untitled; this design is generally known in Japanese as Tako to ama, translated variously into English. Richard Douglas Lane calls it Girl Diver and Octopi; Matthi Forrer calls it Pearl Diver and Two Octopi [sic]; and Danielle Talerico calls it Diver and Two Octopuses. The open book measures 16.51 cm × 22.23 cm (6.50 in × 8.75 in).

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Focus on The Dream of the Fisherman's Wife and explain the Text on the print.

The full text, which surrounds the maiden and octopuses, as translated by James Heaton and Toyoshima Mizuho:LARGE OCTOPUS: My wish comes true at last, this day of days; finally I have you in my grasp! Your "bobo" is ripe and full, how wonderful! Superior to all others! To suck and suck and suck some more. After we do it masterfully, I'll guide you to the Dragon Palace of the Sea God and envelop you. "Zuu sufu sufu chyu chyu chyu tsu zuu fufufuuu..."MAIDEN: You hateful octopus! Your sucking at the mouth of my womb makes me gasp for breath! Aah! Yes... it's... there!!! With the sucker, the sucker!! Inside, squiggle, squiggle, oooh! Oooh, good, oooh good! There, there! Theeeeere! Goood! Whew! Aah! Good, good, aaaaaaaaaah! Not yet! Until now it was I that men called an octopus! An octopus! Ooh! Whew! How are you able...!? Ooh! "Yoyoyooh, saa... hicha hicha gucha gucha, yuchyuu chyu guzu guzu suu suuu..."LARGE OCTOPUS: All eight limbs to interwine with!! How do you like it this way? Ah, look! The inside has swollen, moistened by the warm waters of lust. "Nura nura doku doku doku..."MAIDEN: Yes, it tingles now; soon there will be no sensation at all left in my hips. Ooooooh! Boundaries and borders gone! I've vanished...!!!!!!SMALL OCTOPUS: After daddy finishes, I too want to rub and rub my suckers at the ridge of your furry place until you disappear and then I'll suck some more. "Chyu chyu..."

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Explain the Text on the print of this artwork, The Dream of the Fisherman's Wife.

The full text, which surrounds the maiden and octopuses, as translated by James Heaton and Toyoshima Mizuho:LARGE OCTOPUS: My wish comes true at last, this day of days; finally I have you in my grasp! Your "bobo" is ripe and full, how wonderful! Superior to all others! To suck and suck and suck some more. After we do it masterfully, I'll guide you to the Dragon Palace of the Sea God and envelop you. "Zuu sufu sufu chyu chyu chyu tsu zuu fufufuuu..."MAIDEN: You hateful octopus! Your sucking at the mouth of my womb makes me gasp for breath! Aah! Yes... it's... there!!! With the sucker, the sucker!! Inside, squiggle, squiggle, oooh! Oooh, good, oooh good! There, there! Theeeeere! Goood! Whew! Aah! Good, good, aaaaaaaaaah! Not yet! Until now it was I that men called an octopus! An octopus! Ooh! Whew! How are you able...!? Ooh! "Yoyoyooh, saa... hicha hicha gucha gucha, yuchyuu chyu guzu guzu suu suuu..."LARGE OCTOPUS: All eight limbs to interwine with!! How do you like it this way? Ah, look! The inside has swollen, moistened by the warm waters of lust. "Nura nura doku doku doku..."MAIDEN: Yes, it tingles now; soon there will be no sensation at all left in my hips. Ooooooh! Boundaries and borders gone! I've vanished...!!!!!!SMALL OCTOPUS: After daddy finishes, I too want to rub and rub my suckers at the ridge of your furry place until you disappear and then I'll suck some more. "Chyu chyu..."

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: How does The Dream of the Fisherman's Wife explain its Text on the print?

The full text, which surrounds the maiden and octopuses, as translated by James Heaton and Toyoshima Mizuho:LARGE OCTOPUS: My wish comes true at last, this day of days; finally I have you in my grasp! Your "bobo" is ripe and full, how wonderful! Superior to all others! To suck and suck and suck some more. After we do it masterfully, I'll guide you to the Dragon Palace of the Sea God and envelop you. "Zuu sufu sufu chyu chyu chyu tsu zuu fufufuuu..."MAIDEN: You hateful octopus! Your sucking at the mouth of my womb makes me gasp for breath! Aah! Yes... it's... there!!! With the sucker, the sucker!! Inside, squiggle, squiggle, oooh! Oooh, good, oooh good! There, there! Theeeeere! Goood! Whew! Aah! Good, good, aaaaaaaaaah! Not yet! Until now it was I that men called an octopus! An octopus! Ooh! Whew! How are you able...!? Ooh! "Yoyoyooh, saa... hicha hicha gucha gucha, yuchyuu chyu guzu guzu suu suuu..."LARGE OCTOPUS: All eight limbs to interwine with!! How do you like it this way? Ah, look! The inside has swollen, moistened by the warm waters of lust. "Nura nura doku doku doku..."MAIDEN: Yes, it tingles now; soon there will be no sensation at all left in my hips. Ooooooh! Boundaries and borders gone! I've vanished...!!!!!!SMALL OCTOPUS: After daddy finishes, I too want to rub and rub my suckers at the ridge of your furry place until you disappear and then I'll suck some more. "Chyu chyu..."

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: In The Dream of the Fisherman's Wife, how is the Text on the print discussed?

The full text, which surrounds the maiden and octopuses, as translated by James Heaton and Toyoshima Mizuho:LARGE OCTOPUS: My wish comes true at last, this day of days; finally I have you in my grasp! Your "bobo" is ripe and full, how wonderful! Superior to all others! To suck and suck and suck some more. After we do it masterfully, I'll guide you to the Dragon Palace of the Sea God and envelop you. "Zuu sufu sufu chyu chyu chyu tsu zuu fufufuuu..."MAIDEN: You hateful octopus! Your sucking at the mouth of my womb makes me gasp for breath! Aah! Yes... it's... there!!! With the sucker, the sucker!! Inside, squiggle, squiggle, oooh! Oooh, good, oooh good! There, there! Theeeeere! Goood! Whew! Aah! Good, good, aaaaaaaaaah! Not yet! Until now it was I that men called an octopus! An octopus! Ooh! Whew! How are you able...!? Ooh! "Yoyoyooh, saa... hicha hicha gucha gucha, yuchyuu chyu guzu guzu suu suuu..."LARGE OCTOPUS: All eight limbs to interwine with!! How do you like it this way? Ah, look! The inside has swollen, moistened by the warm waters of lust. "Nura nura doku doku doku..."MAIDEN: Yes, it tingles now; soon there will be no sensation at all left in my hips. Ooooooh! Boundaries and borders gone! I've vanished...!!!!!!SMALL OCTOPUS: After daddy finishes, I too want to rub and rub my suckers at the ridge of your furry place until you disappear and then I'll suck some more. "Chyu chyu..."

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Focus on The Dream of the Fisherman's Wife and explain the Interpretations.

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.The Tamatori story was a popular subject in ukiyo-e art. The artist, Utagawa Kuniyoshi, produced works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend. The Dream of the Fisherman's Wife is not the only work of Edo-period art to depict erotic relations between a woman and an octopus. Some early netsuke carvings show cephalopods fondling nude women. Hokusai's contemporary Yanagawa Shigenobu created an image of a woman receiving cunnilingus from an octopus very similar to Hokusai's in his collection Suetsumuhana of 1830.Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. She notes that these scholars would have seen it apart from the Kinoe no Komatsu collection and without understanding the text and visual references, depriving it of its original context. Goncourt did, however, know its original context, which he describes in a passage of his monograph on Hokusai. According to Chris Uhlenbeck and Margarita Winkel, "[t]his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Explain the Interpretations of this artwork, The Dream of the Fisherman's Wife.

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.The Tamatori story was a popular subject in ukiyo-e art. The artist, Utagawa Kuniyoshi, produced works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend. The Dream of the Fisherman's Wife is not the only work of Edo-period art to depict erotic relations between a woman and an octopus. Some early netsuke carvings show cephalopods fondling nude women. Hokusai's contemporary Yanagawa Shigenobu created an image of a woman receiving cunnilingus from an octopus very similar to Hokusai's in his collection Suetsumuhana of 1830.Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. She notes that these scholars would have seen it apart from the Kinoe no Komatsu collection and without understanding the text and visual references, depriving it of its original context. Goncourt did, however, know its original context, which he describes in a passage of his monograph on Hokusai. According to Chris Uhlenbeck and Margarita Winkel, "[t]his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: How does The Dream of the Fisherman's Wife explain its Interpretations?

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.The Tamatori story was a popular subject in ukiyo-e art. The artist, Utagawa Kuniyoshi, produced works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend. The Dream of the Fisherman's Wife is not the only work of Edo-period art to depict erotic relations between a woman and an octopus. Some early netsuke carvings show cephalopods fondling nude women. Hokusai's contemporary Yanagawa Shigenobu created an image of a woman receiving cunnilingus from an octopus very similar to Hokusai's in his collection Suetsumuhana of 1830.Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. She notes that these scholars would have seen it apart from the Kinoe no Komatsu collection and without understanding the text and visual references, depriving it of its original context. Goncourt did, however, know its original context, which he describes in a passage of his monograph on Hokusai. According to Chris Uhlenbeck and Margarita Winkel, "[t]his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: In The Dream of the Fisherman's Wife, how is the Interpretations discussed?

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.The Tamatori story was a popular subject in ukiyo-e art. The artist, Utagawa Kuniyoshi, produced works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend. The Dream of the Fisherman's Wife is not the only work of Edo-period art to depict erotic relations between a woman and an octopus. Some early netsuke carvings show cephalopods fondling nude women. Hokusai's contemporary Yanagawa Shigenobu created an image of a woman receiving cunnilingus from an octopus very similar to Hokusai's in his collection Suetsumuhana of 1830.Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. She notes that these scholars would have seen it apart from the Kinoe no Komatsu collection and without understanding the text and visual references, depriving it of its original context. Goncourt did, however, know its original context, which he describes in a passage of his monograph on Hokusai. According to Chris Uhlenbeck and Margarita Winkel, "[t]his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Focus on The Dream of the Fisherman's Wife and explain the Influence.

The image is often cited as a forerunner of tentacle erotica, a motif that has been popular in modern Japanese animation and manga since the late 20th century, popularized by author Toshio Maeda. Modern tentacle erotica similarly depicts sex between women and tentacled beasts; the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese society following World War II, which was in turn reflective of existing, underlying currents of cultural trauma. Scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise", citing Hokusai's print an early exemplar of such a tradition.The work influenced later artists such as Félicien Rops, Auguste Rodin, Louis Aucoc, Fernand Khnopff and Pablo Picasso. Picasso drew his own private version in 1903, which was displayed in a 2009 Museu Picasso exhibit titled Secret Images, alongside 26 other drawings and engravings by Picasso, displayed next to Hokusai's original and 16 other Japanese prints, portraying the influence of 19th century Japanese art on Picasso's work. Picasso also later fully painted works that were directly influenced by the woodblock print, such as 1932's Reclining Nude, where the woman in pleasure is also the octopus, capable of pleasuring herself. In 2003, a derivative work by Australian painter David Laity, titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving complaints, police investigated and decided it did not break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.The so-called aria della piovra ("Octopus aria") Un dì, ero piccina in Pietro Mascagni's opera Iris (1898), on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"The scene is recreated in a "surreal, slightly horrific form" in Kaneto Shindo's 1981 fictionalized Hokusai biopic Edo Porn. The print is featured briefly in Park Chan-wook's film The Handmaiden and is intended to illustrate the perverted nature of Uncle Kouzuki's oppression of Lady Hideko to Sook-Hee. The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her storyline of becoming comfortable as an executive.The print has been cited by Isabel Coixet as influential in a sexual scene in her film Elisa & Marcela, as a "non-masculine sexual reference".

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: Explain the Influence of this artwork, The Dream of the Fisherman's Wife.

The image is often cited as a forerunner of tentacle erotica, a motif that has been popular in modern Japanese animation and manga since the late 20th century, popularized by author Toshio Maeda. Modern tentacle erotica similarly depicts sex between women and tentacled beasts; the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese society following World War II, which was in turn reflective of existing, underlying currents of cultural trauma. Scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise", citing Hokusai's print an early exemplar of such a tradition.The work influenced later artists such as Félicien Rops, Auguste Rodin, Louis Aucoc, Fernand Khnopff and Pablo Picasso. Picasso drew his own private version in 1903, which was displayed in a 2009 Museu Picasso exhibit titled Secret Images, alongside 26 other drawings and engravings by Picasso, displayed next to Hokusai's original and 16 other Japanese prints, portraying the influence of 19th century Japanese art on Picasso's work. Picasso also later fully painted works that were directly influenced by the woodblock print, such as 1932's Reclining Nude, where the woman in pleasure is also the octopus, capable of pleasuring herself. In 2003, a derivative work by Australian painter David Laity, titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving complaints, police investigated and decided it did not break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.The so-called aria della piovra ("Octopus aria") Un dì, ero piccina in Pietro Mascagni's opera Iris (1898), on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"The scene is recreated in a "surreal, slightly horrific form" in Kaneto Shindo's 1981 fictionalized Hokusai biopic Edo Porn. The print is featured briefly in Park Chan-wook's film The Handmaiden and is intended to illustrate the perverted nature of Uncle Kouzuki's oppression of Lady Hideko to Sook-Hee. The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her storyline of becoming comfortable as an executive.The print has been cited by Isabel Coixet as influential in a sexual scene in her film Elisa & Marcela, as a "non-masculine sexual reference".

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: How does The Dream of the Fisherman's Wife explain its Influence?

The image is often cited as a forerunner of tentacle erotica, a motif that has been popular in modern Japanese animation and manga since the late 20th century, popularized by author Toshio Maeda. Modern tentacle erotica similarly depicts sex between women and tentacled beasts; the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese society following World War II, which was in turn reflective of existing, underlying currents of cultural trauma. Scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise", citing Hokusai's print an early exemplar of such a tradition.The work influenced later artists such as Félicien Rops, Auguste Rodin, Louis Aucoc, Fernand Khnopff and Pablo Picasso. Picasso drew his own private version in 1903, which was displayed in a 2009 Museu Picasso exhibit titled Secret Images, alongside 26 other drawings and engravings by Picasso, displayed next to Hokusai's original and 16 other Japanese prints, portraying the influence of 19th century Japanese art on Picasso's work. Picasso also later fully painted works that were directly influenced by the woodblock print, such as 1932's Reclining Nude, where the woman in pleasure is also the octopus, capable of pleasuring herself. In 2003, a derivative work by Australian painter David Laity, titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving complaints, police investigated and decided it did not break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.The so-called aria della piovra ("Octopus aria") Un dì, ero piccina in Pietro Mascagni's opera Iris (1898), on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"The scene is recreated in a "surreal, slightly horrific form" in Kaneto Shindo's 1981 fictionalized Hokusai biopic Edo Porn. The print is featured briefly in Park Chan-wook's film The Handmaiden and is intended to illustrate the perverted nature of Uncle Kouzuki's oppression of Lady Hideko to Sook-Hee. The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her storyline of becoming comfortable as an executive.The print has been cited by Isabel Coixet as influential in a sexual scene in her film Elisa & Marcela, as a "non-masculine sexual reference".

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


The Dream of the Fisherman's Wife

Prompt: In The Dream of the Fisherman's Wife, how is the Influence discussed?

The image is often cited as a forerunner of tentacle erotica, a motif that has been popular in modern Japanese animation and manga since the late 20th century, popularized by author Toshio Maeda. Modern tentacle erotica similarly depicts sex between women and tentacled beasts; the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese society following World War II, which was in turn reflective of existing, underlying currents of cultural trauma. Scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise", citing Hokusai's print an early exemplar of such a tradition.The work influenced later artists such as Félicien Rops, Auguste Rodin, Louis Aucoc, Fernand Khnopff and Pablo Picasso. Picasso drew his own private version in 1903, which was displayed in a 2009 Museu Picasso exhibit titled Secret Images, alongside 26 other drawings and engravings by Picasso, displayed next to Hokusai's original and 16 other Japanese prints, portraying the influence of 19th century Japanese art on Picasso's work. Picasso also later fully painted works that were directly influenced by the woodblock print, such as 1932's Reclining Nude, where the woman in pleasure is also the octopus, capable of pleasuring herself. In 2003, a derivative work by Australian painter David Laity, titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving complaints, police investigated and decided it did not break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.The so-called aria della piovra ("Octopus aria") Un dì, ero piccina in Pietro Mascagni's opera Iris (1898), on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"The scene is recreated in a "surreal, slightly horrific form" in Kaneto Shindo's 1981 fictionalized Hokusai biopic Edo Porn. The print is featured briefly in Park Chan-wook's film The Handmaiden and is intended to illustrate the perverted nature of Uncle Kouzuki's oppression of Lady Hideko to Sook-Hee. The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her storyline of becoming comfortable as an executive.The print has been cited by Isabel Coixet as influential in a sexual scene in her film Elisa & Marcela, as a "non-masculine sexual reference".

Dona i Pop}} ("Woman and Octopus") (1903, [[Catalonia

File:Pablo Picasso, Dona i Pop (1903).jpg

File:Tamatori being pursued bya dragon.jpg

File:Tamakatzura Tamatori attacked by the octopus.jpg

Woodblock print by Kuniyoshi depicting Tamatori fighting an octopus


Doni Tondo

Prompt: Focus on Doni Tondo and explain the abstract.

The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished, The Entombment and the so-called Manchester Madonna, are both in the National Gallery in London.) Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian 'round', a shape which is frequently associated during the Renaissance with domestic ideas.The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family (the child Jesus, Mary, and Joseph) in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the abstract of this artwork, Doni Tondo.

The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished, The Entombment and the so-called Manchester Madonna, are both in the National Gallery in London.) Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian 'round', a shape which is frequently associated during the Renaissance with domestic ideas.The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family (the child Jesus, Mary, and Joseph) in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its abstract?

The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished, The Entombment and the so-called Manchester Madonna, are both in the National Gallery in London.) Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian 'round', a shape which is frequently associated during the Renaissance with domestic ideas.The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family (the child Jesus, Mary, and Joseph) in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the abstract discussed?

The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive. (Two other panel paintings, generally agreed to be by Michelangelo but unfinished, The Entombment and the so-called Manchester Madonna, are both in the National Gallery in London.) Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian 'round', a shape which is frequently associated during the Renaissance with domestic ideas.The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family (the child Jesus, Mary, and Joseph) in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Description.

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?). Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Description of this artwork, Doni Tondo.

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?). Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Description?

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?). Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the Description discussed?

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth (?). Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously (seemingly) unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families.There is a horizontal band, possibly a wall, separating the foreground and background. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group (the Holy family). Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Technique.

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Technique of this artwork, Doni Tondo.

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. The nude figures in the background have softer modelling and look to be precursors to the ignudi, the male nude figures in the Sistine Ceiling frescoes. Michelangelo's technique includes shading from the most intense colors first to the lighter shades on top, using the darker colors as shadows. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

The Virgin and Child with St. Anne (Leonardo)

File:Leonardo da Vinci - Virgin and Child with St Anne C2RMF retouched.jpg

The ''Doni Tondo'' was influenced by an early version of [[Leonardo da Vinci

Visitors observing ''Doni Tondo'' in Uffizi Gallery

File:Uffizi Gallery - Michelangelo painting "Tondo Doni".JPG

Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times

Evidence of Michelangelo's painting style is seen in the ''Doni Tondo''. His work on the image foreshadows his technique in the [[Sistine Chapel

The nude figures in the tondo background are said to have been influenced by the statue of ''[[Laocoön and His Sons

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects