The Alchemist Discovering Phosphorus

Prompt: In The Alchemist Discovering Phosphorus, how is the History discussed?

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


Coronation gown of Elizabeth II

Prompt: Focus on Coronation gown of Elizabeth II and explain the abstract.

Queen Elizabeth II's coronation took place on 2 June 1953. Ordered in October 1952, her gown took eight months of research, design, workmanship, and intricate embroidery to complete. It featured the floral emblems of the countries of the United Kingdom and those of the other states within the Commonwealth of Nations, including the English Tudor rose, Scots thistle, Welsh leek, Irish shamrock, Canadian maple leaf, Australian wattle, New Zealand silver fern, South African protea, Indian lotus flower for India, the Lotus flower of Ceylon, and Pakistan's wheat, cotton, and jute.The gown, like Elizabeth's wedding dress and other notable royal dresses of this period, was designed by Norman Hartnell. It was Elizabeth's wish that the coronation dress should be made of satin, like her wedding dress, with accentuation of regal elegance, but with no undue emphasis on shape. The gown now forms part of the Royal Collection.After the coronation, the Queen wore the dress on several occasions such as when she opened the parliaments in New Zealand (1954), Australia (1954), Ceylon (1954), and Canada (1957).

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: Explain the abstract of this artwork, Coronation gown of Elizabeth II.

Queen Elizabeth II's coronation took place on 2 June 1953. Ordered in October 1952, her gown took eight months of research, design, workmanship, and intricate embroidery to complete. It featured the floral emblems of the countries of the United Kingdom and those of the other states within the Commonwealth of Nations, including the English Tudor rose, Scots thistle, Welsh leek, Irish shamrock, Canadian maple leaf, Australian wattle, New Zealand silver fern, South African protea, Indian lotus flower for India, the Lotus flower of Ceylon, and Pakistan's wheat, cotton, and jute.The gown, like Elizabeth's wedding dress and other notable royal dresses of this period, was designed by Norman Hartnell. It was Elizabeth's wish that the coronation dress should be made of satin, like her wedding dress, with accentuation of regal elegance, but with no undue emphasis on shape. The gown now forms part of the Royal Collection.After the coronation, the Queen wore the dress on several occasions such as when she opened the parliaments in New Zealand (1954), Australia (1954), Ceylon (1954), and Canada (1957).

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: How does Coronation gown of Elizabeth II explain its abstract?

Queen Elizabeth II's coronation took place on 2 June 1953. Ordered in October 1952, her gown took eight months of research, design, workmanship, and intricate embroidery to complete. It featured the floral emblems of the countries of the United Kingdom and those of the other states within the Commonwealth of Nations, including the English Tudor rose, Scots thistle, Welsh leek, Irish shamrock, Canadian maple leaf, Australian wattle, New Zealand silver fern, South African protea, Indian lotus flower for India, the Lotus flower of Ceylon, and Pakistan's wheat, cotton, and jute.The gown, like Elizabeth's wedding dress and other notable royal dresses of this period, was designed by Norman Hartnell. It was Elizabeth's wish that the coronation dress should be made of satin, like her wedding dress, with accentuation of regal elegance, but with no undue emphasis on shape. The gown now forms part of the Royal Collection.After the coronation, the Queen wore the dress on several occasions such as when she opened the parliaments in New Zealand (1954), Australia (1954), Ceylon (1954), and Canada (1957).

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: In Coronation gown of Elizabeth II, how is the abstract discussed?

Queen Elizabeth II's coronation took place on 2 June 1953. Ordered in October 1952, her gown took eight months of research, design, workmanship, and intricate embroidery to complete. It featured the floral emblems of the countries of the United Kingdom and those of the other states within the Commonwealth of Nations, including the English Tudor rose, Scots thistle, Welsh leek, Irish shamrock, Canadian maple leaf, Australian wattle, New Zealand silver fern, South African protea, Indian lotus flower for India, the Lotus flower of Ceylon, and Pakistan's wheat, cotton, and jute.The gown, like Elizabeth's wedding dress and other notable royal dresses of this period, was designed by Norman Hartnell. It was Elizabeth's wish that the coronation dress should be made of satin, like her wedding dress, with accentuation of regal elegance, but with no undue emphasis on shape. The gown now forms part of the Royal Collection.After the coronation, the Queen wore the dress on several occasions such as when she opened the parliaments in New Zealand (1954), Australia (1954), Ceylon (1954), and Canada (1957).

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: Focus on Coronation gown of Elizabeth II and explain the Design.

The dress was to be a historic masterpiece befitting the occasion, consequently one that would stand out. Like her bridal gown, the costume was designed by Norman Hartnell. Hartnell proposed at least eight different designs; the first, very simple, similar to that worn by Queen Victoria at her coronation; the second, a modern slim-fitting sheath gown, embroidered in gold; the third, a crinoline style dress of white satin, silver tissue and crusty silver lace; the fourth, white satin embroidered with Madonna and arum lilies and encrusted with pendant pearls; the fifth, a colourful design of violets, roses and wheat, the sixth, white satin with gold, silver and copper embroideries featuring branches of oak leaves with acorns; the seventh, the Tudor Rose of England, appliqued in gold tissue against white satin; and the eighth, similar to the seventh, but incorporating the floral emblems of Great Britain. The Queen favoured the last option if Hartnell introduced some colour and included the floral emblems of the dominions, alongside those of Great Britain. When consulting with the Garter King of Arms, Hartnell's plan to use the daffodil to represent Wales was vetoed, with the Garter requiring the use of the leek instead. Hartnell described this event in his autobiography:The leek I agreed was a most admirable vegetable, full of historic significance and doubtless of health-giving properties, but scarcely noted for its beauty. Could he not possibly permit me to use the more graceful daffodil instead?"No, Hartnell. You must have the Leek," said Garter, adamant.However, Hartnell found that through the use of silk and the addition of diamonds, "we were able to transform the earthy Leek into a vision of Cinderella charm ... fit to embellish the dress of a queen". These changes were implemented in the ninth design and presented to Elizabeth at Sandringham. Later Hartnell secretly added an embroidered extra four-leaved shamrock on the left side of her dress as an omen for good fortune.The final version featured a Tudor rose, embroidered in very pale pink silk, with pearls, gold and silver bullion, and rose diamante; the Welsh leek, embroidered in white silk with leaves of very pale green silk; the Scottish thistle, with pale mauve silk and amethysts and a calyx embroidered in reseda green silk, silver thread, and diamante dewdrops; the Irish shamrock, like the thistle, was embroidered in soft green silk, silver thread, bullion, and diamante; the Canadian maple leaf, made with green silk embroideries with a crystal vein and gold border; the silver fern of New Zealand, embroidered in straight stitches using soft green silk and veined in silver and crystal; the Australian wattle flower, made with a coarse mimosa yellow wool and green and gold foliage; the South African protea, embroidered in shaded pink silk, with green silk leaves and silver outlined petals; the lotus flower of India, made with seed pearls and diamante and mother of pearl embroidered petals; the Lotus flower of Ceylon, made with opals, mother of pearl, diamante, and soft green silk; and the three emblems of Pakistan: wheat, in oat-shaped diamante and fronds of golden crystal, cotton, made in silver with leaves of green silk, and jute, embroidered in green silk and golden thread.In addition to the gown, Hartnell also designed a plain white linen robe called a colobium sindonis, which initially covered the short-sleeved, low-neck gown. Attached to the shoulders was a crimson velvet mantle edged with ermine and featuring two rows of delicately embroidered gold lace and gold filigree. On the Coronation Day, the six maids of honour carried this robe behind the Queen.

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: Explain the Design of this artwork, Coronation gown of Elizabeth II.

The dress was to be a historic masterpiece befitting the occasion, consequently one that would stand out. Like her bridal gown, the costume was designed by Norman Hartnell. Hartnell proposed at least eight different designs; the first, very simple, similar to that worn by Queen Victoria at her coronation; the second, a modern slim-fitting sheath gown, embroidered in gold; the third, a crinoline style dress of white satin, silver tissue and crusty silver lace; the fourth, white satin embroidered with Madonna and arum lilies and encrusted with pendant pearls; the fifth, a colourful design of violets, roses and wheat, the sixth, white satin with gold, silver and copper embroideries featuring branches of oak leaves with acorns; the seventh, the Tudor Rose of England, appliqued in gold tissue against white satin; and the eighth, similar to the seventh, but incorporating the floral emblems of Great Britain. The Queen favoured the last option if Hartnell introduced some colour and included the floral emblems of the dominions, alongside those of Great Britain. When consulting with the Garter King of Arms, Hartnell's plan to use the daffodil to represent Wales was vetoed, with the Garter requiring the use of the leek instead. Hartnell described this event in his autobiography:The leek I agreed was a most admirable vegetable, full of historic significance and doubtless of health-giving properties, but scarcely noted for its beauty. Could he not possibly permit me to use the more graceful daffodil instead?"No, Hartnell. You must have the Leek," said Garter, adamant.However, Hartnell found that through the use of silk and the addition of diamonds, "we were able to transform the earthy Leek into a vision of Cinderella charm ... fit to embellish the dress of a queen". These changes were implemented in the ninth design and presented to Elizabeth at Sandringham. Later Hartnell secretly added an embroidered extra four-leaved shamrock on the left side of her dress as an omen for good fortune.The final version featured a Tudor rose, embroidered in very pale pink silk, with pearls, gold and silver bullion, and rose diamante; the Welsh leek, embroidered in white silk with leaves of very pale green silk; the Scottish thistle, with pale mauve silk and amethysts and a calyx embroidered in reseda green silk, silver thread, and diamante dewdrops; the Irish shamrock, like the thistle, was embroidered in soft green silk, silver thread, bullion, and diamante; the Canadian maple leaf, made with green silk embroideries with a crystal vein and gold border; the silver fern of New Zealand, embroidered in straight stitches using soft green silk and veined in silver and crystal; the Australian wattle flower, made with a coarse mimosa yellow wool and green and gold foliage; the South African protea, embroidered in shaded pink silk, with green silk leaves and silver outlined petals; the lotus flower of India, made with seed pearls and diamante and mother of pearl embroidered petals; the Lotus flower of Ceylon, made with opals, mother of pearl, diamante, and soft green silk; and the three emblems of Pakistan: wheat, in oat-shaped diamante and fronds of golden crystal, cotton, made in silver with leaves of green silk, and jute, embroidered in green silk and golden thread.In addition to the gown, Hartnell also designed a plain white linen robe called a colobium sindonis, which initially covered the short-sleeved, low-neck gown. Attached to the shoulders was a crimson velvet mantle edged with ermine and featuring two rows of delicately embroidered gold lace and gold filigree. On the Coronation Day, the six maids of honour carried this robe behind the Queen.

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: How does Coronation gown of Elizabeth II explain its Design?

The dress was to be a historic masterpiece befitting the occasion, consequently one that would stand out. Like her bridal gown, the costume was designed by Norman Hartnell. Hartnell proposed at least eight different designs; the first, very simple, similar to that worn by Queen Victoria at her coronation; the second, a modern slim-fitting sheath gown, embroidered in gold; the third, a crinoline style dress of white satin, silver tissue and crusty silver lace; the fourth, white satin embroidered with Madonna and arum lilies and encrusted with pendant pearls; the fifth, a colourful design of violets, roses and wheat, the sixth, white satin with gold, silver and copper embroideries featuring branches of oak leaves with acorns; the seventh, the Tudor Rose of England, appliqued in gold tissue against white satin; and the eighth, similar to the seventh, but incorporating the floral emblems of Great Britain. The Queen favoured the last option if Hartnell introduced some colour and included the floral emblems of the dominions, alongside those of Great Britain. When consulting with the Garter King of Arms, Hartnell's plan to use the daffodil to represent Wales was vetoed, with the Garter requiring the use of the leek instead. Hartnell described this event in his autobiography:The leek I agreed was a most admirable vegetable, full of historic significance and doubtless of health-giving properties, but scarcely noted for its beauty. Could he not possibly permit me to use the more graceful daffodil instead?"No, Hartnell. You must have the Leek," said Garter, adamant.However, Hartnell found that through the use of silk and the addition of diamonds, "we were able to transform the earthy Leek into a vision of Cinderella charm ... fit to embellish the dress of a queen". These changes were implemented in the ninth design and presented to Elizabeth at Sandringham. Later Hartnell secretly added an embroidered extra four-leaved shamrock on the left side of her dress as an omen for good fortune.The final version featured a Tudor rose, embroidered in very pale pink silk, with pearls, gold and silver bullion, and rose diamante; the Welsh leek, embroidered in white silk with leaves of very pale green silk; the Scottish thistle, with pale mauve silk and amethysts and a calyx embroidered in reseda green silk, silver thread, and diamante dewdrops; the Irish shamrock, like the thistle, was embroidered in soft green silk, silver thread, bullion, and diamante; the Canadian maple leaf, made with green silk embroideries with a crystal vein and gold border; the silver fern of New Zealand, embroidered in straight stitches using soft green silk and veined in silver and crystal; the Australian wattle flower, made with a coarse mimosa yellow wool and green and gold foliage; the South African protea, embroidered in shaded pink silk, with green silk leaves and silver outlined petals; the lotus flower of India, made with seed pearls and diamante and mother of pearl embroidered petals; the Lotus flower of Ceylon, made with opals, mother of pearl, diamante, and soft green silk; and the three emblems of Pakistan: wheat, in oat-shaped diamante and fronds of golden crystal, cotton, made in silver with leaves of green silk, and jute, embroidered in green silk and golden thread.In addition to the gown, Hartnell also designed a plain white linen robe called a colobium sindonis, which initially covered the short-sleeved, low-neck gown. Attached to the shoulders was a crimson velvet mantle edged with ermine and featuring two rows of delicately embroidered gold lace and gold filigree. On the Coronation Day, the six maids of honour carried this robe behind the Queen.

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: In Coronation gown of Elizabeth II, how is the Design discussed?

The dress was to be a historic masterpiece befitting the occasion, consequently one that would stand out. Like her bridal gown, the costume was designed by Norman Hartnell. Hartnell proposed at least eight different designs; the first, very simple, similar to that worn by Queen Victoria at her coronation; the second, a modern slim-fitting sheath gown, embroidered in gold; the third, a crinoline style dress of white satin, silver tissue and crusty silver lace; the fourth, white satin embroidered with Madonna and arum lilies and encrusted with pendant pearls; the fifth, a colourful design of violets, roses and wheat, the sixth, white satin with gold, silver and copper embroideries featuring branches of oak leaves with acorns; the seventh, the Tudor Rose of England, appliqued in gold tissue against white satin; and the eighth, similar to the seventh, but incorporating the floral emblems of Great Britain. The Queen favoured the last option if Hartnell introduced some colour and included the floral emblems of the dominions, alongside those of Great Britain. When consulting with the Garter King of Arms, Hartnell's plan to use the daffodil to represent Wales was vetoed, with the Garter requiring the use of the leek instead. Hartnell described this event in his autobiography:The leek I agreed was a most admirable vegetable, full of historic significance and doubtless of health-giving properties, but scarcely noted for its beauty. Could he not possibly permit me to use the more graceful daffodil instead?"No, Hartnell. You must have the Leek," said Garter, adamant.However, Hartnell found that through the use of silk and the addition of diamonds, "we were able to transform the earthy Leek into a vision of Cinderella charm ... fit to embellish the dress of a queen". These changes were implemented in the ninth design and presented to Elizabeth at Sandringham. Later Hartnell secretly added an embroidered extra four-leaved shamrock on the left side of her dress as an omen for good fortune.The final version featured a Tudor rose, embroidered in very pale pink silk, with pearls, gold and silver bullion, and rose diamante; the Welsh leek, embroidered in white silk with leaves of very pale green silk; the Scottish thistle, with pale mauve silk and amethysts and a calyx embroidered in reseda green silk, silver thread, and diamante dewdrops; the Irish shamrock, like the thistle, was embroidered in soft green silk, silver thread, bullion, and diamante; the Canadian maple leaf, made with green silk embroideries with a crystal vein and gold border; the silver fern of New Zealand, embroidered in straight stitches using soft green silk and veined in silver and crystal; the Australian wattle flower, made with a coarse mimosa yellow wool and green and gold foliage; the South African protea, embroidered in shaded pink silk, with green silk leaves and silver outlined petals; the lotus flower of India, made with seed pearls and diamante and mother of pearl embroidered petals; the Lotus flower of Ceylon, made with opals, mother of pearl, diamante, and soft green silk; and the three emblems of Pakistan: wheat, in oat-shaped diamante and fronds of golden crystal, cotton, made in silver with leaves of green silk, and jute, embroidered in green silk and golden thread.In addition to the gown, Hartnell also designed a plain white linen robe called a colobium sindonis, which initially covered the short-sleeved, low-neck gown. Attached to the shoulders was a crimson velvet mantle edged with ermine and featuring two rows of delicately embroidered gold lace and gold filigree. On the Coronation Day, the six maids of honour carried this robe behind the Queen.

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: Focus on Coronation gown of Elizabeth II and explain the Making.

The dress, which was  ordered in October 1952, took eight months of research, design and workmanship to make.Its intricate embroidery required many hours of diligent work by the dressmakers. The silk used to make the gown was obtained from Lady Hart Dyke's silk farm at Lullingstone Castle. The dress required the efforts of at least three dressmakers, six embroideresses and the Royal School of Needlework, responsible for the embroidery worked in gold bullion thread. The Robe of State of Crimson Velvet, which was attached to the shoulders of the gown, was hand-woven by Warners of Braintree, Essex, using Lullingstone Castle silk and made by Messrs. Ede & Ravenscroft of Chancery Lane, London.

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: Explain the Making of this artwork, Coronation gown of Elizabeth II.

The dress, which was  ordered in October 1952, took eight months of research, design and workmanship to make.Its intricate embroidery required many hours of diligent work by the dressmakers. The silk used to make the gown was obtained from Lady Hart Dyke's silk farm at Lullingstone Castle. The dress required the efforts of at least three dressmakers, six embroideresses and the Royal School of Needlework, responsible for the embroidery worked in gold bullion thread. The Robe of State of Crimson Velvet, which was attached to the shoulders of the gown, was hand-woven by Warners of Braintree, Essex, using Lullingstone Castle silk and made by Messrs. Ede & Ravenscroft of Chancery Lane, London.

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: How does Coronation gown of Elizabeth II explain its Making?

The dress, which was  ordered in October 1952, took eight months of research, design and workmanship to make.Its intricate embroidery required many hours of diligent work by the dressmakers. The silk used to make the gown was obtained from Lady Hart Dyke's silk farm at Lullingstone Castle. The dress required the efforts of at least three dressmakers, six embroideresses and the Royal School of Needlework, responsible for the embroidery worked in gold bullion thread. The Robe of State of Crimson Velvet, which was attached to the shoulders of the gown, was hand-woven by Warners of Braintree, Essex, using Lullingstone Castle silk and made by Messrs. Ede & Ravenscroft of Chancery Lane, London.

Category:Dresses in the Royal Collection of the United Kingdom


Coronation gown of Elizabeth II

Prompt: In Coronation gown of Elizabeth II, how is the Making discussed?

The dress, which was  ordered in October 1952, took eight months of research, design and workmanship to make.Its intricate embroidery required many hours of diligent work by the dressmakers. The silk used to make the gown was obtained from Lady Hart Dyke's silk farm at Lullingstone Castle. The dress required the efforts of at least three dressmakers, six embroideresses and the Royal School of Needlework, responsible for the embroidery worked in gold bullion thread. The Robe of State of Crimson Velvet, which was attached to the shoulders of the gown, was hand-woven by Warners of Braintree, Essex, using Lullingstone Castle silk and made by Messrs. Ede & Ravenscroft of Chancery Lane, London.

Category:Dresses in the Royal Collection of the United Kingdom


Spirit of Communication

Prompt: Focus on Spirit of Communication and explain the abstract.

Spirit of Communication is the formal name for the statue by Evelyn Beatrice Longman originally called Genius of Telegraphy. The statue has been the symbol of AT&T (and also the former Western Electric) since their commission was completed in 1916. It is also known informally as the Golden Boy statue and formerly as Genius of Electricity.Commissioned for 195 Broadway in New York City, the sculpture has followed AT&T to other sites in New York and New Jersey over the years. In 2009, the statue was relocated to AT&T's current corporate headquarters in downtown Dallas, Texas, U.S.  As of 2022, the statue is located outside in the AT&T Discovery District in Downtown Dallas.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: Explain the abstract of this artwork, Spirit of Communication.

Spirit of Communication is the formal name for the statue by Evelyn Beatrice Longman originally called Genius of Telegraphy. The statue has been the symbol of AT&T (and also the former Western Electric) since their commission was completed in 1916. It is also known informally as the Golden Boy statue and formerly as Genius of Electricity.Commissioned for 195 Broadway in New York City, the sculpture has followed AT&T to other sites in New York and New Jersey over the years. In 2009, the statue was relocated to AT&T's current corporate headquarters in downtown Dallas, Texas, U.S.  As of 2022, the statue is located outside in the AT&T Discovery District in Downtown Dallas.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: How does Spirit of Communication explain its abstract?

Spirit of Communication is the formal name for the statue by Evelyn Beatrice Longman originally called Genius of Telegraphy. The statue has been the symbol of AT&T (and also the former Western Electric) since their commission was completed in 1916. It is also known informally as the Golden Boy statue and formerly as Genius of Electricity.Commissioned for 195 Broadway in New York City, the sculpture has followed AT&T to other sites in New York and New Jersey over the years. In 2009, the statue was relocated to AT&T's current corporate headquarters in downtown Dallas, Texas, U.S.  As of 2022, the statue is located outside in the AT&T Discovery District in Downtown Dallas.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: In Spirit of Communication, how is the abstract discussed?

Spirit of Communication is the formal name for the statue by Evelyn Beatrice Longman originally called Genius of Telegraphy. The statue has been the symbol of AT&T (and also the former Western Electric) since their commission was completed in 1916. It is also known informally as the Golden Boy statue and formerly as Genius of Electricity.Commissioned for 195 Broadway in New York City, the sculpture has followed AT&T to other sites in New York and New Jersey over the years. In 2009, the statue was relocated to AT&T's current corporate headquarters in downtown Dallas, Texas, U.S.  As of 2022, the statue is located outside in the AT&T Discovery District in Downtown Dallas.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: Focus on Spirit of Communication and explain the History.

Commissioned in 1914, it was crafted by Evelyn Beatrice Longman. The work was completed in 1916 and hoisted to the roof of AT&T Corporate Headquarters at 195 Broadway in the Financial District of Lower Manhattan. The statue's design by Evelyn Beatrice Longman was selected as the winner of a competition, similar to the 1917 Bell Telephone Memorial. It became New York City's second-largest sculpture, after the Statue of Liberty. The statue's original name as commissioned under the aegis of AT&T's president Theodore N. Vail was Genius of Telegraphy. By that time, AT&T had spun off its telegraphy component, Western Union, and the work was renamed to Genius of Electricity. In the 1928,1938, and 1941 editions of the training course Principles of Electricity applied to Telephone and Telegraph Work, it was referred to as Spirit of Electricity.The statue weighs more than 14.5 tonnes (16 short tons) and is 7.3 metres (24 ft) tall, with wings that extend 2.7 metres (9 ft) from its body. It is cast in bronze and covered with more than 12,500 pieces of gold leaf.Sometime in the mid-1930s, AT&T changed the name of the statue (and the image) to The Spirit of Communication.  It continued to stand atop the 195 Broadway building until the early 1980s. In 1984, AT&T moved to a new postmodern headquarters building at 550 Madison Avenue in Midtown Manhattan, designed by Philip Johnson. On Johnson's suggestion, the statue was relocated to the  foyer of the new location.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: Explain the History of this artwork, Spirit of Communication.

Commissioned in 1914, it was crafted by Evelyn Beatrice Longman. The work was completed in 1916 and hoisted to the roof of AT&T Corporate Headquarters at 195 Broadway in the Financial District of Lower Manhattan. The statue's design by Evelyn Beatrice Longman was selected as the winner of a competition, similar to the 1917 Bell Telephone Memorial. It became New York City's second-largest sculpture, after the Statue of Liberty. The statue's original name as commissioned under the aegis of AT&T's president Theodore N. Vail was Genius of Telegraphy. By that time, AT&T had spun off its telegraphy component, Western Union, and the work was renamed to Genius of Electricity. In the 1928,1938, and 1941 editions of the training course Principles of Electricity applied to Telephone and Telegraph Work, it was referred to as Spirit of Electricity.The statue weighs more than 14.5 tonnes (16 short tons) and is 7.3 metres (24 ft) tall, with wings that extend 2.7 metres (9 ft) from its body. It is cast in bronze and covered with more than 12,500 pieces of gold leaf.Sometime in the mid-1930s, AT&T changed the name of the statue (and the image) to The Spirit of Communication.  It continued to stand atop the 195 Broadway building until the early 1980s. In 1984, AT&T moved to a new postmodern headquarters building at 550 Madison Avenue in Midtown Manhattan, designed by Philip Johnson. On Johnson's suggestion, the statue was relocated to the  foyer of the new location.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: How does Spirit of Communication explain its History?

Commissioned in 1914, it was crafted by Evelyn Beatrice Longman. The work was completed in 1916 and hoisted to the roof of AT&T Corporate Headquarters at 195 Broadway in the Financial District of Lower Manhattan. The statue's design by Evelyn Beatrice Longman was selected as the winner of a competition, similar to the 1917 Bell Telephone Memorial. It became New York City's second-largest sculpture, after the Statue of Liberty. The statue's original name as commissioned under the aegis of AT&T's president Theodore N. Vail was Genius of Telegraphy. By that time, AT&T had spun off its telegraphy component, Western Union, and the work was renamed to Genius of Electricity. In the 1928,1938, and 1941 editions of the training course Principles of Electricity applied to Telephone and Telegraph Work, it was referred to as Spirit of Electricity.The statue weighs more than 14.5 tonnes (16 short tons) and is 7.3 metres (24 ft) tall, with wings that extend 2.7 metres (9 ft) from its body. It is cast in bronze and covered with more than 12,500 pieces of gold leaf.Sometime in the mid-1930s, AT&T changed the name of the statue (and the image) to The Spirit of Communication.  It continued to stand atop the 195 Broadway building until the early 1980s. In 1984, AT&T moved to a new postmodern headquarters building at 550 Madison Avenue in Midtown Manhattan, designed by Philip Johnson. On Johnson's suggestion, the statue was relocated to the  foyer of the new location.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: In Spirit of Communication, how is the History discussed?

Commissioned in 1914, it was crafted by Evelyn Beatrice Longman. The work was completed in 1916 and hoisted to the roof of AT&T Corporate Headquarters at 195 Broadway in the Financial District of Lower Manhattan. The statue's design by Evelyn Beatrice Longman was selected as the winner of a competition, similar to the 1917 Bell Telephone Memorial. It became New York City's second-largest sculpture, after the Statue of Liberty. The statue's original name as commissioned under the aegis of AT&T's president Theodore N. Vail was Genius of Telegraphy. By that time, AT&T had spun off its telegraphy component, Western Union, and the work was renamed to Genius of Electricity. In the 1928,1938, and 1941 editions of the training course Principles of Electricity applied to Telephone and Telegraph Work, it was referred to as Spirit of Electricity.The statue weighs more than 14.5 tonnes (16 short tons) and is 7.3 metres (24 ft) tall, with wings that extend 2.7 metres (9 ft) from its body. It is cast in bronze and covered with more than 12,500 pieces of gold leaf.Sometime in the mid-1930s, AT&T changed the name of the statue (and the image) to The Spirit of Communication.  It continued to stand atop the 195 Broadway building until the early 1980s. In 1984, AT&T moved to a new postmodern headquarters building at 550 Madison Avenue in Midtown Manhattan, designed by Philip Johnson. On Johnson's suggestion, the statue was relocated to the  foyer of the new location.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: Focus on Spirit of Communication and explain the Relocation to New Jersey.

1984 marked the end of the Bell System. The New York City headquarters building was sold to Sony in 1992 and the company relocated its headquarters to 32 Avenue of the Americas(which had no room for the statue) and many operating functions across the Hudson River and about forty miles west to a 140-acre (0.57 km2) wooded campus purchased nine years previously in Basking Ridge, New Jersey.The statue was installed in front of the main entrance to the new building in 1992. In 2002, AT&T sold its Basking Ridge property and moved eight miles (13 km) down the road to Bedminster Township bringing the statue. Those facilities had previously been the headquarters of the AT&T Long Lines division and home to the company's national network operations center.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: Explain the Relocation to New Jersey of this artwork, Spirit of Communication.

1984 marked the end of the Bell System. The New York City headquarters building was sold to Sony in 1992 and the company relocated its headquarters to 32 Avenue of the Americas(which had no room for the statue) and many operating functions across the Hudson River and about forty miles west to a 140-acre (0.57 km2) wooded campus purchased nine years previously in Basking Ridge, New Jersey.The statue was installed in front of the main entrance to the new building in 1992. In 2002, AT&T sold its Basking Ridge property and moved eight miles (13 km) down the road to Bedminster Township bringing the statue. Those facilities had previously been the headquarters of the AT&T Long Lines division and home to the company's national network operations center.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: How does Spirit of Communication explain its Relocation to New Jersey?

1984 marked the end of the Bell System. The New York City headquarters building was sold to Sony in 1992 and the company relocated its headquarters to 32 Avenue of the Americas(which had no room for the statue) and many operating functions across the Hudson River and about forty miles west to a 140-acre (0.57 km2) wooded campus purchased nine years previously in Basking Ridge, New Jersey.The statue was installed in front of the main entrance to the new building in 1992. In 2002, AT&T sold its Basking Ridge property and moved eight miles (13 km) down the road to Bedminster Township bringing the statue. Those facilities had previously been the headquarters of the AT&T Long Lines division and home to the company's national network operations center.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: In Spirit of Communication, how is the Relocation to New Jersey discussed?

1984 marked the end of the Bell System. The New York City headquarters building was sold to Sony in 1992 and the company relocated its headquarters to 32 Avenue of the Americas(which had no room for the statue) and many operating functions across the Hudson River and about forty miles west to a 140-acre (0.57 km2) wooded campus purchased nine years previously in Basking Ridge, New Jersey.The statue was installed in front of the main entrance to the new building in 1992. In 2002, AT&T sold its Basking Ridge property and moved eight miles (13 km) down the road to Bedminster Township bringing the statue. Those facilities had previously been the headquarters of the AT&T Long Lines division and home to the company's national network operations center.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: Focus on Spirit of Communication and explain the Present owners.

In November 2005, SBC (once a wholly owned subsidiary of the AT&T Corporation—a Baby Bell) acquired AT&T. In a move designed to capitalize on the national and global name of its former parent, San Antonio, Texas-based SBC renamed itself AT&T Inc. In 2009, the new AT&T removed the statue from the Bedminster Township, New Jersey location and later installed it in the lobby of its new headquarters at the Whitacre Tower in Dallas, Texas. The statue was moved yet again in 2019 from the Whitacre Tower to AT&T's Discovery District in Downtown Dallas.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: Explain the Present owners of this artwork, Spirit of Communication.

In November 2005, SBC (once a wholly owned subsidiary of the AT&T Corporation—a Baby Bell) acquired AT&T. In a move designed to capitalize on the national and global name of its former parent, San Antonio, Texas-based SBC renamed itself AT&T Inc. In 2009, the new AT&T removed the statue from the Bedminster Township, New Jersey location and later installed it in the lobby of its new headquarters at the Whitacre Tower in Dallas, Texas. The statue was moved yet again in 2019 from the Whitacre Tower to AT&T's Discovery District in Downtown Dallas.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: How does Spirit of Communication explain its Present owners?

In November 2005, SBC (once a wholly owned subsidiary of the AT&T Corporation—a Baby Bell) acquired AT&T. In a move designed to capitalize on the national and global name of its former parent, San Antonio, Texas-based SBC renamed itself AT&T Inc. In 2009, the new AT&T removed the statue from the Bedminster Township, New Jersey location and later installed it in the lobby of its new headquarters at the Whitacre Tower in Dallas, Texas. The statue was moved yet again in 2019 from the Whitacre Tower to AT&T's Discovery District in Downtown Dallas.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


Spirit of Communication

Prompt: In Spirit of Communication, how is the Present owners discussed?

In November 2005, SBC (once a wholly owned subsidiary of the AT&T Corporation—a Baby Bell) acquired AT&T. In a move designed to capitalize on the national and global name of its former parent, San Antonio, Texas-based SBC renamed itself AT&T Inc. In 2009, the new AT&T removed the statue from the Bedminster Township, New Jersey location and later installed it in the lobby of its new headquarters at the Whitacre Tower in Dallas, Texas. The statue was moved yet again in 2019 from the Whitacre Tower to AT&T's Discovery District in Downtown Dallas.

Category:Outdoor sculptures in New Jersey

The ''Spirit of Communication'' was used by the Bell System on telephone directories

Category:Nude sculptures in the United States

Category:Outdoor sculptures in Manhattan

Category:Buildings and structures in Dallas

Category:Gold sculptures in the United States

Image:AT&T's Spirit of Communications (Golden Boy) sculpture in its current location outside of AT&T's headquarters in Dallas, Texas.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the abstract.

The Tribute Money (Italian: Cristo della moneta, lit. 'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Category:Collection of the Gemäldegalerie Alte Meister

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the abstract of this artwork, The Tribute Money (Titian).

The Tribute Money (Italian: Cristo della moneta, lit. 'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Category:Collection of the Gemäldegalerie Alte Meister

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its abstract?

The Tribute Money (Italian: Cristo della moneta, lit. 'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Category:Collection of the Gemäldegalerie Alte Meister

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the abstract discussed?

The Tribute Money (Italian: Cristo della moneta, lit. 'Christ of the coin') is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Category:Collection of the Gemäldegalerie Alte Meister

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Subject and purpose.

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara (as it eventually did when Alfonso's grandson died in 1597).  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Subject and purpose of this artwork, The Tribute Money (Titian).

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara (as it eventually did when Alfonso's grandson died in 1597).  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Subject and purpose?

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara (as it eventually did when Alfonso's grandson died in 1597).  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Subject and purpose discussed?

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara (as it eventually did when Alfonso's grandson died in 1597).  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Date and signature.

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait (see below), with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Date and signature of this artwork, The Tribute Money (Titian).

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait (see below), with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Date and signature?

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait (see below), with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Date and signature discussed?

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait (see below), with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Reception and later composition.

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject (now National Gallery), perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Reception and later composition of this artwork, The Tribute Money (Titian).

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject (now National Gallery), perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Reception and later composition?

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject (now National Gallery), perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Reception and later composition discussed?

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject (now National Gallery), perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Context.

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome (Doria Pamphilj Gallery in Rome and other versions), which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers (Royal Collection).

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Context of this artwork, The Tribute Money (Titian).

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome (Doria Pamphilj Gallery in Rome and other versions), which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers (Royal Collection).

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Context?

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome (Doria Pamphilj Gallery in Rome and other versions), which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers (Royal Collection).

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Context discussed?

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome (Doria Pamphilj Gallery in Rome and other versions), which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers (Royal Collection).

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the Provenance.

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the Provenance of this artwork, The Tribute Money (Titian).

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its Provenance?

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the Provenance discussed?

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Focus on The Tribute Money (Titian) and explain the In literature.

The painting is referred to in George Eliot, Daniel Deronda (ch 40), when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: Explain the In literature of this artwork, The Tribute Money (Titian).

The painting is referred to in George Eliot, Daniel Deronda (ch 40), when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: How does The Tribute Money (Titian) explain its In literature?

The painting is referred to in George Eliot, Daniel Deronda (ch 40), when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


The Tribute Money (Titian)

Prompt: In The Tribute Money (Titian), how is the In literature discussed?

The painting is referred to in George Eliot, Daniel Deronda (ch 40), when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Category:Collection of the Gemäldegalerie Alte Meister

Render unto Caesar the things that are Caesar's, and unto God the things that are God's

Titian's later composition, c. 1543–1568, [[National Gallery

File:Titian - The Tribute Money - Google Art Project.jpg


Pesaro Madonna

Prompt: Focus on Pesaro Madonna and explain the abstract.

The Pesaro Madonna (Italian: Pala Pesaro) (better known as the Madonna di Ca' Pesaro) is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today.  Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Explain the abstract of this artwork, Pesaro Madonna.

The Pesaro Madonna (Italian: Pala Pesaro) (better known as the Madonna di Ca' Pesaro) is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today.  Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: How does Pesaro Madonna explain its abstract?

The Pesaro Madonna (Italian: Pala Pesaro) (better known as the Madonna di Ca' Pesaro) is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today.  Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

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

The Pesaro Madonna (Italian: Pala Pesaro) (better known as the Madonna di Ca' Pesaro) is a painting by the late Italian Renaissance master Titian, commissioned by Jacopo Pesaro, whose family acquired in 1518 the chapel in the Frari Basilica in Venice for which the work was painted, and where it remains today.  Jacopo was Bishop of Paphos, in Cyprus, and had been named commander of the papal fleet by the Borgia pope, Alexander VI. This painting recalls one of Titian's earliest paintings Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter, c. 1510-11

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Focus on Pesaro Madonna and explain the Aesthetics.

Titian shows his patron in a devotional pose, kneeling before the Virgin and presented to her by Saint Peter.  Prominently displayed on the step is Saint Peter's key; its diagonal plane, leading toward the Virgin, parallels that of Jacopo.  The Virgin's position at the top of the steps alludes to her celestial role as Madonna della Scala (Madonna of the Stairs) and as the Stairway to Heaven. Titian actually used his wife, who died in childbirth soon after, as the model for the Virgin Mary in this work.The large red banner at the far left prominently displays the papal arms in the center and those of Jacopo below. Also displayed is a laurel branch, a symbol of victory.  An unidentified knight has two prisoners in tow, a turbaned Turk and a Moor, probably a reference to Jacopo's victory over the Turks in 1502.  At the right, Saint Francis of Assisi links the five kneeling Pesaro family members to Christ, suggesting that through his own route of identification with Christ's salvation can be achieved.  Just behind Saint Francis is Saint Anthony of Padua - both, like Saint Bernardino, are Franciscans, as is the church of Santa Maria Gloriosa dei Frari.The members of the donor's family are motionless.  All the other figures gesture energetically and occupy diagonal planes.  The steps, surmounted by large columns cut off at the top, are thrust diagonally back into space.  Infant angels appear on the cloud above.  One seen in rear view holds the Cross.  The back of this angel is juxtaposed with the infant Christ, who turns playfully on Mary's lap and looks down at Saint Francis, who returns his gaze.  The fabrics are characteristically rich and textured, particularly the flag and costumes.  This attention to material textures is further enhanced by the variation of bright lights and dark accents in the sky.  The light of Venice, sparkling in its waterways, seems to illuminate this painting.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Explain the Aesthetics of this artwork, Pesaro Madonna.

Titian shows his patron in a devotional pose, kneeling before the Virgin and presented to her by Saint Peter.  Prominently displayed on the step is Saint Peter's key; its diagonal plane, leading toward the Virgin, parallels that of Jacopo.  The Virgin's position at the top of the steps alludes to her celestial role as Madonna della Scala (Madonna of the Stairs) and as the Stairway to Heaven. Titian actually used his wife, who died in childbirth soon after, as the model for the Virgin Mary in this work.The large red banner at the far left prominently displays the papal arms in the center and those of Jacopo below. Also displayed is a laurel branch, a symbol of victory.  An unidentified knight has two prisoners in tow, a turbaned Turk and a Moor, probably a reference to Jacopo's victory over the Turks in 1502.  At the right, Saint Francis of Assisi links the five kneeling Pesaro family members to Christ, suggesting that through his own route of identification with Christ's salvation can be achieved.  Just behind Saint Francis is Saint Anthony of Padua - both, like Saint Bernardino, are Franciscans, as is the church of Santa Maria Gloriosa dei Frari.The members of the donor's family are motionless.  All the other figures gesture energetically and occupy diagonal planes.  The steps, surmounted by large columns cut off at the top, are thrust diagonally back into space.  Infant angels appear on the cloud above.  One seen in rear view holds the Cross.  The back of this angel is juxtaposed with the infant Christ, who turns playfully on Mary's lap and looks down at Saint Francis, who returns his gaze.  The fabrics are characteristically rich and textured, particularly the flag and costumes.  This attention to material textures is further enhanced by the variation of bright lights and dark accents in the sky.  The light of Venice, sparkling in its waterways, seems to illuminate this painting.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: How does Pesaro Madonna explain its Aesthetics?

Titian shows his patron in a devotional pose, kneeling before the Virgin and presented to her by Saint Peter.  Prominently displayed on the step is Saint Peter's key; its diagonal plane, leading toward the Virgin, parallels that of Jacopo.  The Virgin's position at the top of the steps alludes to her celestial role as Madonna della Scala (Madonna of the Stairs) and as the Stairway to Heaven. Titian actually used his wife, who died in childbirth soon after, as the model for the Virgin Mary in this work.The large red banner at the far left prominently displays the papal arms in the center and those of Jacopo below. Also displayed is a laurel branch, a symbol of victory.  An unidentified knight has two prisoners in tow, a turbaned Turk and a Moor, probably a reference to Jacopo's victory over the Turks in 1502.  At the right, Saint Francis of Assisi links the five kneeling Pesaro family members to Christ, suggesting that through his own route of identification with Christ's salvation can be achieved.  Just behind Saint Francis is Saint Anthony of Padua - both, like Saint Bernardino, are Franciscans, as is the church of Santa Maria Gloriosa dei Frari.The members of the donor's family are motionless.  All the other figures gesture energetically and occupy diagonal planes.  The steps, surmounted by large columns cut off at the top, are thrust diagonally back into space.  Infant angels appear on the cloud above.  One seen in rear view holds the Cross.  The back of this angel is juxtaposed with the infant Christ, who turns playfully on Mary's lap and looks down at Saint Francis, who returns his gaze.  The fabrics are characteristically rich and textured, particularly the flag and costumes.  This attention to material textures is further enhanced by the variation of bright lights and dark accents in the sky.  The light of Venice, sparkling in its waterways, seems to illuminate this painting.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: In Pesaro Madonna, how is the Aesthetics discussed?

Titian shows his patron in a devotional pose, kneeling before the Virgin and presented to her by Saint Peter.  Prominently displayed on the step is Saint Peter's key; its diagonal plane, leading toward the Virgin, parallels that of Jacopo.  The Virgin's position at the top of the steps alludes to her celestial role as Madonna della Scala (Madonna of the Stairs) and as the Stairway to Heaven. Titian actually used his wife, who died in childbirth soon after, as the model for the Virgin Mary in this work.The large red banner at the far left prominently displays the papal arms in the center and those of Jacopo below. Also displayed is a laurel branch, a symbol of victory.  An unidentified knight has two prisoners in tow, a turbaned Turk and a Moor, probably a reference to Jacopo's victory over the Turks in 1502.  At the right, Saint Francis of Assisi links the five kneeling Pesaro family members to Christ, suggesting that through his own route of identification with Christ's salvation can be achieved.  Just behind Saint Francis is Saint Anthony of Padua - both, like Saint Bernardino, are Franciscans, as is the church of Santa Maria Gloriosa dei Frari.The members of the donor's family are motionless.  All the other figures gesture energetically and occupy diagonal planes.  The steps, surmounted by large columns cut off at the top, are thrust diagonally back into space.  Infant angels appear on the cloud above.  One seen in rear view holds the Cross.  The back of this angel is juxtaposed with the infant Christ, who turns playfully on Mary's lap and looks down at Saint Francis, who returns his gaze.  The fabrics are characteristically rich and textured, particularly the flag and costumes.  This attention to material textures is further enhanced by the variation of bright lights and dark accents in the sky.  The light of Venice, sparkling in its waterways, seems to illuminate this painting.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Focus on Pesaro Madonna and explain the Composition.

When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques.The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards. These columns in the center of the painting are unprecedented in Renaissance painting, and are the subject of some controversy. X-rays reveal that Titian painted several other architectural elements in their place before settling on the columns.  Some critics have even speculated that Titian did not paint the columns.  The outdoors setting suggests that the activity is taking place in a portico, in which the grandeur of the columns somehow belittles the human beings which leave the figures and the viewer almost in awe of the greater implied force.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Explain the Composition of this artwork, Pesaro Madonna.

When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques.The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards. These columns in the center of the painting are unprecedented in Renaissance painting, and are the subject of some controversy. X-rays reveal that Titian painted several other architectural elements in their place before settling on the columns.  Some critics have even speculated that Titian did not paint the columns.  The outdoors setting suggests that the activity is taking place in a portico, in which the grandeur of the columns somehow belittles the human beings which leave the figures and the viewer almost in awe of the greater implied force.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: How does Pesaro Madonna explain its Composition?

When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques.The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards. These columns in the center of the painting are unprecedented in Renaissance painting, and are the subject of some controversy. X-rays reveal that Titian painted several other architectural elements in their place before settling on the columns.  Some critics have even speculated that Titian did not paint the columns.  The outdoors setting suggests that the activity is taking place in a portico, in which the grandeur of the columns somehow belittles the human beings which leave the figures and the viewer almost in awe of the greater implied force.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: In Pesaro Madonna, how is the Composition discussed?

When Titian painted this altarpiece, he broke with a centuries-long tradition of placing the devotional figures (the Virgin and Child) in the center of the painting and the painted space. By doing this, he allowed for a greater sense of movement through the painting, presaging the Baroque period's more complicated compositional techniques.The painting is particularly innovative and shows an example of developed High-Renaissance style, as Titian has used diagonal and triangular principles to draw the viewer's eye up to the Madonna and Child, thus creating hierarchy within the work and shows that the Pesaro family are pious. The architectural setting, involving the two large columns (which have been cropped to fit the altarpiece) draw emphasis vertically and to the height of the work; which draws the eye Heavenwards. These columns in the center of the painting are unprecedented in Renaissance painting, and are the subject of some controversy. X-rays reveal that Titian painted several other architectural elements in their place before settling on the columns.  Some critics have even speculated that Titian did not paint the columns.  The outdoors setting suggests that the activity is taking place in a portico, in which the grandeur of the columns somehow belittles the human beings which leave the figures and the viewer almost in awe of the greater implied force.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Focus on Pesaro Madonna and explain the Removal and restoration.

Following the May 2012 earthquakes in Northern Italy, Titian's painting was removed from view and began a lengthy conservation treatment funded by the non-profit organization Save Venice Inc. While the painting was being conserved, a replica photograph was displayed in the church. On September 21, 2017, more than 400 people attended a ceremony celebrating the re-installation of Titian's restored altarpiece.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: Explain the Removal and restoration of this artwork, Pesaro Madonna.

Following the May 2012 earthquakes in Northern Italy, Titian's painting was removed from view and began a lengthy conservation treatment funded by the non-profit organization Save Venice Inc. While the painting was being conserved, a replica photograph was displayed in the church. On September 21, 2017, more than 400 people attended a ceremony celebrating the re-installation of Titian's restored altarpiece.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: How does Pesaro Madonna explain its Removal and restoration?

Following the May 2012 earthquakes in Northern Italy, Titian's painting was removed from view and began a lengthy conservation treatment funded by the non-profit organization Save Venice Inc. While the painting was being conserved, a replica photograph was displayed in the church. On September 21, 2017, more than 400 people attended a ceremony celebrating the re-installation of Titian's restored altarpiece.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg


Pesaro Madonna

Prompt: In Pesaro Madonna, how is the Removal and restoration discussed?

Following the May 2012 earthquakes in Northern Italy, Titian's painting was removed from view and began a lengthy conservation treatment funded by the non-profit organization Save Venice Inc. While the painting was being conserved, a replica photograph was displayed in the church. On September 21, 2017, more than 400 people attended a ceremony celebrating the re-installation of Titian's restored altarpiece.

Jacopo Pesaro being presented by Pope Alexander VI to Saint Peter

Category:Paintings of the Madonna and Child by Titian

File:Santa Maria Gloriosa dei Frari (50444016206).jpg