Doni Tondo

Prompt: How does Doni Tondo explain its Technique?

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

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

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

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

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Influences.

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.The Doni Tondo is also associated with Luca Signorelli's Medici Madonna in the Uffizi.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

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

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.The Doni Tondo is also associated with Luca Signorelli's Medici Madonna in the Uffizi.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Influences?

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.The Doni Tondo is also associated with Luca Signorelli's Medici Madonna in the Uffizi.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

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

The composition is, most likely, partially influenced by the cartoon (a term referring to a detailed later-stage preliminary drawing) for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.The Doni Tondo is also associated with Luca Signorelli's Medici Madonna in the Uffizi.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth.Three aspects of the painting can be attributed to an antique sardonyx cameo and a 15th-century relief from the circle of Donatello, available to Michelangelo in the Palazzo Medici: the circular form, the masculinity of Mary, and the positioning of the Christ Child. The Virgin's right arm mirrors the arm of the satyr in the cameo, and the cameo also depicts an infant located on the shoulders of the satyr, a position similar to the Christ Child being passed over the right arm of Mary.Additionally, some scholars suggest that Michelangelo was inspired by the famous Greco-Roman group of Laocoön and His Sons, excavated in 1506 in Rome, an event at which Michelangelo is believed to have been present. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the Laocoön (again, if this were so, it would alter the date of the Doni Tondo by several years).Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Plant symbolism.

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Plant symbolism of this artwork, Doni Tondo.

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Plant symbolism?

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the Plant symbolism discussed?

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Focus on Doni Tondo and explain the Scholarly theories.

There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child."  Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy".  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: Explain the Scholarly theories of this artwork, Doni Tondo.

There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child."  Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy".  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: How does Doni Tondo explain its Scholarly theories?

There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child."  Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy".  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Doni Tondo

Prompt: In Doni Tondo, how is the Scholarly theories discussed?

There is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background.Paul Barolsky argues that the Doni Tondo is a "devotional image […] more than an example of style, symbolism, [or] iconography". Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni (meaning literally, in Italian, 'gifts'). Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. She is both the mother of Christ and the best intercessor for appealing to him. Michelangelo, who had been strongly influenced by the Dominican Fra Girolamo Savonarola in Florence, is using the picture to defend the Maculist point of view, a philosophy of the Dominican order rejecting the idea of the Immaculate Conception of Mary. The Maculist view is that the Virgin did not receive her sanctification at birth but at the moment of the incarnation of Christ; thus, the image depicts the moment of Mary's sanctification by showing the Christ Child blessing her. Michelangelo depicts Christ as if he is growing out of Mary's shoulder to take human form, one leg hanging limply and the other not visible at all, therefore making him a part of Mary. Moreover, his muscles and balance convey an upward movement, as if he is growing out of her, although he is above Mary, asserting his superiority to her. Furthermore, she argues that the nudes are to be interpreted as sinners who have removed their clothes for cleansing and purification through baptism. The water, which separates the sinners from the Holy Family, just beyond the horizontal band in the middle of the painting, can therefore be seen as the "waters of separation" mentioned in the Bible. She also argues that the five figures may represent the five parts of the soul: the higher soul (soul and intellect) on the left and the lower soul (imagination, sensation, and nourishing faculty) on the right, a visual depiction of the views of Marsilio Ficino, whom Michelangelo references in other works. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity.Andrée Hayum argues that the commissioning of the tondo by the Doni family helped to emphasize the "secular and domestic ideals" of the painting rather than seeing it as a "devotional object". In choosing a tondo as the format for the picture, Michelangelo is referencing the form's long association with depicting the "Adoration of the Magi, the Nativity, [and] the Madonna and Child."  Hayum also finds many allusions to Noah throughout the work. She posits a referencing of the Madonna to Noah's daughter-in-law, a sibyl, which thus makes Joseph an embodiment of Noah himself. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer.Roberta Olson states that the painting depicts the "importance of the family" and is related to "Doni’s hoped-for descendants". One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David. Additionally, Joseph is important to the painting by referencing the middle name of the "Doni's third child who lived beyond infancy".  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry (two of which by Ghiberti) – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

The Virgin and Child with St. Anne (Leonardo)

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

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

Visitors observing ''Doni Tondo'' in Uffizi Gallery

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

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

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

Category:Paintings by Michelangelo in the Uffizi

Category:Religious paintings by Michelangelo

Lives of the Most Excellent Painters, Sculptors, and Architects


Bal du moulin de la Galette

Prompt: Focus on Bal du moulin de la Galette and explain the abstract.

Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir.It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at the original Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working-class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening.: 121–3  Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.From 1879-94 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896-1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Louvre until it was transferred to the Musée d'Orsay in 1986.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: Explain the abstract of this artwork, Bal du moulin de la Galette.

Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir.It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at the original Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working-class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening.: 121–3  Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.From 1879-94 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896-1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Louvre until it was transferred to the Musée d'Orsay in 1986.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: How does Bal du moulin de la Galette explain its abstract?

Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir.It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at the original Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working-class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening.: 121–3  Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.From 1879-94 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896-1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Louvre until it was transferred to the Musée d'Orsay in 1986.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: In Bal du moulin de la Galette, how is the abstract discussed?

Bal du moulin de la Galette (commonly known as Dance at Le moulin de la Galette) is an 1876 painting by French artist Pierre-Auguste Renoir.It is housed at the Musée d'Orsay in Paris and is one of Impressionism's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at the original Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working-class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening.: 121–3  Like other works of Renoir's early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, and a flickering, sun-dappled light.From 1879-94 the painting was in the collection of the French painter Gustave Caillebotte; when he died it became the property of the French Republic as payment for death duties. From 1896-1929 the painting hung in the Musée du Luxembourg in Paris. From 1929 it hung in the Louvre until it was transferred to the Musée d'Orsay in 1986.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: Focus on Bal du moulin de la Galette and explain the Smaller version.

Renoir painted a smaller version of the picture (78 × 114 cm) with the same title. The painting is now believed to be in a private collection in Switzerland. Apart from their size, the two paintings are virtually identical, although the smaller is painted in a more fluid manner than the d'Orsay version. One is presumably a copy of the original, but it is not known which is the original. It is not even known which was the one first exhibited at the Salon of 1877, because though it was catalogued and given favourable attention by critics, its entry did not indicate the size of the painting.For many years it was owned by John Hay Whitney. On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan.At the time of sale, it was one of the top two most expensive artworks ever sold, together with van Gogh's Portrait of Dr. Gachet, which was also purchased by Saito. Saito caused international outrage when he suggested in 1991 that he intended to cremate both paintings with him when he died. However, when Saito and his companies ran into severe financial difficulties, bankers who held the painting as collateral for loans arranged a confidential sale through Sotheby's to an undisclosed buyer. Although not known for certain, the painting is believed to be in the hands of a Swiss collector.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: Explain the Smaller version of this artwork, Bal du moulin de la Galette.

Renoir painted a smaller version of the picture (78 × 114 cm) with the same title. The painting is now believed to be in a private collection in Switzerland. Apart from their size, the two paintings are virtually identical, although the smaller is painted in a more fluid manner than the d'Orsay version. One is presumably a copy of the original, but it is not known which is the original. It is not even known which was the one first exhibited at the Salon of 1877, because though it was catalogued and given favourable attention by critics, its entry did not indicate the size of the painting.For many years it was owned by John Hay Whitney. On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan.At the time of sale, it was one of the top two most expensive artworks ever sold, together with van Gogh's Portrait of Dr. Gachet, which was also purchased by Saito. Saito caused international outrage when he suggested in 1991 that he intended to cremate both paintings with him when he died. However, when Saito and his companies ran into severe financial difficulties, bankers who held the painting as collateral for loans arranged a confidential sale through Sotheby's to an undisclosed buyer. Although not known for certain, the painting is believed to be in the hands of a Swiss collector.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: How does Bal du moulin de la Galette explain its Smaller version?

Renoir painted a smaller version of the picture (78 × 114 cm) with the same title. The painting is now believed to be in a private collection in Switzerland. Apart from their size, the two paintings are virtually identical, although the smaller is painted in a more fluid manner than the d'Orsay version. One is presumably a copy of the original, but it is not known which is the original. It is not even known which was the one first exhibited at the Salon of 1877, because though it was catalogued and given favourable attention by critics, its entry did not indicate the size of the painting.For many years it was owned by John Hay Whitney. On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan.At the time of sale, it was one of the top two most expensive artworks ever sold, together with van Gogh's Portrait of Dr. Gachet, which was also purchased by Saito. Saito caused international outrage when he suggested in 1991 that he intended to cremate both paintings with him when he died. However, when Saito and his companies ran into severe financial difficulties, bankers who held the painting as collateral for loans arranged a confidential sale through Sotheby's to an undisclosed buyer. Although not known for certain, the painting is believed to be in the hands of a Swiss collector.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: In Bal du moulin de la Galette, how is the Smaller version discussed?

Renoir painted a smaller version of the picture (78 × 114 cm) with the same title. The painting is now believed to be in a private collection in Switzerland. Apart from their size, the two paintings are virtually identical, although the smaller is painted in a more fluid manner than the d'Orsay version. One is presumably a copy of the original, but it is not known which is the original. It is not even known which was the one first exhibited at the Salon of 1877, because though it was catalogued and given favourable attention by critics, its entry did not indicate the size of the painting.For many years it was owned by John Hay Whitney. On May 17, 1990, his widow sold the painting for US$78 million at Sotheby's in New York City to Ryoei Saito (Saitō Ryōei), the honorary chairman of Daishowa Paper Manufacturing Company, Japan.At the time of sale, it was one of the top two most expensive artworks ever sold, together with van Gogh's Portrait of Dr. Gachet, which was also purchased by Saito. Saito caused international outrage when he suggested in 1991 that he intended to cremate both paintings with him when he died. However, when Saito and his companies ran into severe financial difficulties, bankers who held the painting as collateral for loans arranged a confidential sale through Sotheby's to an undisclosed buyer. Although not known for certain, the painting is believed to be in the hands of a Swiss collector.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: Focus on Bal du moulin de la Galette and explain the Genesis.

Renoir conceived his project of painting the dancing at Le Moulin de la Galette in May 1876 and its execution is described in full by his civil servant friend Georges Rivière in his memoir Renoir et ses amis. Renoir needed to set up a studio near the mill. A suitable studio was found at an abandoned cottage in the rue Cortot with a garden described by Rivière as a "beautiful abandoned park".: 130  Several of Renoir's major works were painted in this garden at this time, including La balançoire (The Swing). The gardens  and its buildings have been preserved as the Musée de Montmartre.Rivière identified several of the personalities in the painting. Despite Renoir's habit of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose  as principal for the painting (in fact she was conducting an affair with a local boy at the time). It is her sister Estelle who poses as the girl wearing a blue and pink striped dress. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte (also appearing in La balançoire), fellow painters, as well as Rivière himself. Behind her, amongst the dancers, are to be found Henri Gervex, Eugène Pierre Lestringuez and Paul Lhote (who appears in Dance in the Country). In the middle distance, at the centre of the dance hall, the Cuban painter Don Pedro Vidal de Solares y Cardenas is depicted in striped trousers, dancing with the model called Margot (Marguerite Legrand). Apparently, the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him, and teaching him dubious songs in the local slang. She was to die of typhoid just two years later, Renoir nursing her until the end, paying both for her treatment and her funeral.: 136–7 Rivière describes the painting as executed on the spot and not without difficulty, as the wind constantly threatened to blow the canvas away. This has led some critics to speculate that it was the larger d'Orsay painting that was painted here, as the smaller would have been easier to control. On the other hand, the smaller is much the more spontaneous and freely worked of the two, characteristic of en plein air work.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: Explain the Genesis of this artwork, Bal du moulin de la Galette.

Renoir conceived his project of painting the dancing at Le Moulin de la Galette in May 1876 and its execution is described in full by his civil servant friend Georges Rivière in his memoir Renoir et ses amis. Renoir needed to set up a studio near the mill. A suitable studio was found at an abandoned cottage in the rue Cortot with a garden described by Rivière as a "beautiful abandoned park".: 130  Several of Renoir's major works were painted in this garden at this time, including La balançoire (The Swing). The gardens  and its buildings have been preserved as the Musée de Montmartre.Rivière identified several of the personalities in the painting. Despite Renoir's habit of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose  as principal for the painting (in fact she was conducting an affair with a local boy at the time). It is her sister Estelle who poses as the girl wearing a blue and pink striped dress. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte (also appearing in La balançoire), fellow painters, as well as Rivière himself. Behind her, amongst the dancers, are to be found Henri Gervex, Eugène Pierre Lestringuez and Paul Lhote (who appears in Dance in the Country). In the middle distance, at the centre of the dance hall, the Cuban painter Don Pedro Vidal de Solares y Cardenas is depicted in striped trousers, dancing with the model called Margot (Marguerite Legrand). Apparently, the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him, and teaching him dubious songs in the local slang. She was to die of typhoid just two years later, Renoir nursing her until the end, paying both for her treatment and her funeral.: 136–7 Rivière describes the painting as executed on the spot and not without difficulty, as the wind constantly threatened to blow the canvas away. This has led some critics to speculate that it was the larger d'Orsay painting that was painted here, as the smaller would have been easier to control. On the other hand, the smaller is much the more spontaneous and freely worked of the two, characteristic of en plein air work.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: How does Bal du moulin de la Galette explain its Genesis?

Renoir conceived his project of painting the dancing at Le Moulin de la Galette in May 1876 and its execution is described in full by his civil servant friend Georges Rivière in his memoir Renoir et ses amis. Renoir needed to set up a studio near the mill. A suitable studio was found at an abandoned cottage in the rue Cortot with a garden described by Rivière as a "beautiful abandoned park".: 130  Several of Renoir's major works were painted in this garden at this time, including La balançoire (The Swing). The gardens  and its buildings have been preserved as the Musée de Montmartre.Rivière identified several of the personalities in the painting. Despite Renoir's habit of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose  as principal for the painting (in fact she was conducting an affair with a local boy at the time). It is her sister Estelle who poses as the girl wearing a blue and pink striped dress. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte (also appearing in La balançoire), fellow painters, as well as Rivière himself. Behind her, amongst the dancers, are to be found Henri Gervex, Eugène Pierre Lestringuez and Paul Lhote (who appears in Dance in the Country). In the middle distance, at the centre of the dance hall, the Cuban painter Don Pedro Vidal de Solares y Cardenas is depicted in striped trousers, dancing with the model called Margot (Marguerite Legrand). Apparently, the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him, and teaching him dubious songs in the local slang. She was to die of typhoid just two years later, Renoir nursing her until the end, paying both for her treatment and her funeral.: 136–7 Rivière describes the painting as executed on the spot and not without difficulty, as the wind constantly threatened to blow the canvas away. This has led some critics to speculate that it was the larger d'Orsay painting that was painted here, as the smaller would have been easier to control. On the other hand, the smaller is much the more spontaneous and freely worked of the two, characteristic of en plein air work.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: In Bal du moulin de la Galette, how is the Genesis discussed?

Renoir conceived his project of painting the dancing at Le Moulin de la Galette in May 1876 and its execution is described in full by his civil servant friend Georges Rivière in his memoir Renoir et ses amis. Renoir needed to set up a studio near the mill. A suitable studio was found at an abandoned cottage in the rue Cortot with a garden described by Rivière as a "beautiful abandoned park".: 130  Several of Renoir's major works were painted in this garden at this time, including La balançoire (The Swing). The gardens  and its buildings have been preserved as the Musée de Montmartre.Rivière identified several of the personalities in the painting. Despite Renoir's habit of distributing a sought after fashionable hat of the time amongst his models (the straw bonnet with a wide red ribbon top right is an example of this hat, called a timbale), he was unable to persuade his favourite sixteen-year-old model Jeanne Samary, who appears in La balançoire, to pose  as principal for the painting (in fact she was conducting an affair with a local boy at the time). It is her sister Estelle who poses as the girl wearing a blue and pink striped dress. These two girls came to Le Moulin every Sunday with their family; with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother (entry was free for girls at Le Moulin and not all were models of virtue). Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte (also appearing in La balançoire), fellow painters, as well as Rivière himself. Behind her, amongst the dancers, are to be found Henri Gervex, Eugène Pierre Lestringuez and Paul Lhote (who appears in Dance in the Country). In the middle distance, at the centre of the dance hall, the Cuban painter Don Pedro Vidal de Solares y Cardenas is depicted in striped trousers, dancing with the model called Margot (Marguerite Legrand). Apparently, the exuberant Margot found Solares too reserved and was endeavouring to loosen him up by dancing polkas with him, and teaching him dubious songs in the local slang. She was to die of typhoid just two years later, Renoir nursing her until the end, paying both for her treatment and her funeral.: 136–7 Rivière describes the painting as executed on the spot and not without difficulty, as the wind constantly threatened to blow the canvas away. This has led some critics to speculate that it was the larger d'Orsay painting that was painted here, as the smaller would have been easier to control. On the other hand, the smaller is much the more spontaneous and freely worked of the two, characteristic of en plein air work.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: Focus on Bal du moulin de la Galette and explain the In popular culture.

A homage to this painting appears as the cover art of A Night on the Town, the 1976 album of singer-songwriter Rod Stewart with Stewart replacing the man, in the centre, wearing the straw boater.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: Explain the In popular culture of this artwork, Bal du moulin de la Galette.

A homage to this painting appears as the cover art of A Night on the Town, the 1976 album of singer-songwriter Rod Stewart with Stewart replacing the man, in the centre, wearing the straw boater.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: How does Bal du moulin de la Galette explain its In popular culture?

A homage to this painting appears as the cover art of A Night on the Town, the 1976 album of singer-songwriter Rod Stewart with Stewart replacing the man, in the centre, wearing the straw boater.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Bal du moulin de la Galette

Prompt: In Bal du moulin de la Galette, how is the In popular culture discussed?

A homage to this painting appears as the cover art of A Night on the Town, the 1976 album of singer-songwriter Rod Stewart with Stewart replacing the man, in the centre, wearing the straw boater.

File:Auguste Renoir - Dance at Le Moulin de la Galette (ex Whitney collection).jpg

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Isleworth Mona Lisa

Prompt: Focus on Isleworth Mona Lisa and explain the abstract.

The Isleworth Mona Lisa is an early 16th-century oil on canvas painting depicting the same subject as Leonardo da Vinci's Mona Lisa, though with the subject (Lisa del Giocondo) depicted as being a younger age. The painting is thought to have been brought from Italy to England in the 1780s, and came into public view in 1913 when the English connoisseur Hugh Blaker acquired it from a manor house in Somerset, where it was thought to have been hanging for over a century. The painting would eventually adopt its unofficial name of Isleworth Mona Lisa from Blaker's studio being in Isleworth, West London. Since the 1910s, experts in various fields, as well as the collectors who have acquired ownership of the painting, have asserted that the major elements of the painting are the work of Leonardo himself, as an earlier version of the Mona Lisa.In 1914, art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts in the 1920s echoed Konody's assessment of authorship by Leonardo at a time when the painting was more broadly examined. Much later authorities have made varying characterizations of the degree to which the painting can be ascribed to Leonardo; in 2012, The Guardian described the art world as being "split" over the question, and in 2013, Reuters said that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.Kemp and others who doubt Leonardo's hand in the painting attribute it to the Leonardeschi, Leonardo's workshop, believing it to be one of a number of copies of the Mona Lisa produced by Leonardo's collaborators, assistants, and pupils, though, as Leonardo biographer Walter Isaacson expressed it, "perhaps with an occasional helping hand from the master". In 2010, The Mona Lisa Foundation was founded to investigate if the Isleworth Mona Lisa was painted in part by Leonardo, but as an earlier version of the Louvre Mona Lisa.Differing views have been expressed on the relative weight to be given to scientific evidence versus connoisseurship. Physicist John F. Asmus, who pioneered laser-restoration techniques for Renaissance art, and who had previously examined the Mona Lisa in the Louvre for this purpose, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre, and replicated that finding in a 2016 study. However, curator Luke Syson has argued that science is "only ever one of several factors we'd use to assess the authenticity and authorship of a work of art". An independent 2015 academic journal article also attributed the work to Leonardo on stylistic grounds.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: Explain the abstract of this artwork, Isleworth Mona Lisa.

The Isleworth Mona Lisa is an early 16th-century oil on canvas painting depicting the same subject as Leonardo da Vinci's Mona Lisa, though with the subject (Lisa del Giocondo) depicted as being a younger age. The painting is thought to have been brought from Italy to England in the 1780s, and came into public view in 1913 when the English connoisseur Hugh Blaker acquired it from a manor house in Somerset, where it was thought to have been hanging for over a century. The painting would eventually adopt its unofficial name of Isleworth Mona Lisa from Blaker's studio being in Isleworth, West London. Since the 1910s, experts in various fields, as well as the collectors who have acquired ownership of the painting, have asserted that the major elements of the painting are the work of Leonardo himself, as an earlier version of the Mona Lisa.In 1914, art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts in the 1920s echoed Konody's assessment of authorship by Leonardo at a time when the painting was more broadly examined. Much later authorities have made varying characterizations of the degree to which the painting can be ascribed to Leonardo; in 2012, The Guardian described the art world as being "split" over the question, and in 2013, Reuters said that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.Kemp and others who doubt Leonardo's hand in the painting attribute it to the Leonardeschi, Leonardo's workshop, believing it to be one of a number of copies of the Mona Lisa produced by Leonardo's collaborators, assistants, and pupils, though, as Leonardo biographer Walter Isaacson expressed it, "perhaps with an occasional helping hand from the master". In 2010, The Mona Lisa Foundation was founded to investigate if the Isleworth Mona Lisa was painted in part by Leonardo, but as an earlier version of the Louvre Mona Lisa.Differing views have been expressed on the relative weight to be given to scientific evidence versus connoisseurship. Physicist John F. Asmus, who pioneered laser-restoration techniques for Renaissance art, and who had previously examined the Mona Lisa in the Louvre for this purpose, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre, and replicated that finding in a 2016 study. However, curator Luke Syson has argued that science is "only ever one of several factors we'd use to assess the authenticity and authorship of a work of art". An independent 2015 academic journal article also attributed the work to Leonardo on stylistic grounds.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: How does Isleworth Mona Lisa explain its abstract?

The Isleworth Mona Lisa is an early 16th-century oil on canvas painting depicting the same subject as Leonardo da Vinci's Mona Lisa, though with the subject (Lisa del Giocondo) depicted as being a younger age. The painting is thought to have been brought from Italy to England in the 1780s, and came into public view in 1913 when the English connoisseur Hugh Blaker acquired it from a manor house in Somerset, where it was thought to have been hanging for over a century. The painting would eventually adopt its unofficial name of Isleworth Mona Lisa from Blaker's studio being in Isleworth, West London. Since the 1910s, experts in various fields, as well as the collectors who have acquired ownership of the painting, have asserted that the major elements of the painting are the work of Leonardo himself, as an earlier version of the Mona Lisa.In 1914, art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts in the 1920s echoed Konody's assessment of authorship by Leonardo at a time when the painting was more broadly examined. Much later authorities have made varying characterizations of the degree to which the painting can be ascribed to Leonardo; in 2012, The Guardian described the art world as being "split" over the question, and in 2013, Reuters said that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.Kemp and others who doubt Leonardo's hand in the painting attribute it to the Leonardeschi, Leonardo's workshop, believing it to be one of a number of copies of the Mona Lisa produced by Leonardo's collaborators, assistants, and pupils, though, as Leonardo biographer Walter Isaacson expressed it, "perhaps with an occasional helping hand from the master". In 2010, The Mona Lisa Foundation was founded to investigate if the Isleworth Mona Lisa was painted in part by Leonardo, but as an earlier version of the Louvre Mona Lisa.Differing views have been expressed on the relative weight to be given to scientific evidence versus connoisseurship. Physicist John F. Asmus, who pioneered laser-restoration techniques for Renaissance art, and who had previously examined the Mona Lisa in the Louvre for this purpose, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre, and replicated that finding in a 2016 study. However, curator Luke Syson has argued that science is "only ever one of several factors we'd use to assess the authenticity and authorship of a work of art". An independent 2015 academic journal article also attributed the work to Leonardo on stylistic grounds.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: In Isleworth Mona Lisa, how is the abstract discussed?

The Isleworth Mona Lisa is an early 16th-century oil on canvas painting depicting the same subject as Leonardo da Vinci's Mona Lisa, though with the subject (Lisa del Giocondo) depicted as being a younger age. The painting is thought to have been brought from Italy to England in the 1780s, and came into public view in 1913 when the English connoisseur Hugh Blaker acquired it from a manor house in Somerset, where it was thought to have been hanging for over a century. The painting would eventually adopt its unofficial name of Isleworth Mona Lisa from Blaker's studio being in Isleworth, West London. Since the 1910s, experts in various fields, as well as the collectors who have acquired ownership of the painting, have asserted that the major elements of the painting are the work of Leonardo himself, as an earlier version of the Mona Lisa.In 1914, art critic Paul George Konody criticized early reports of the painting, which contained errors that he believed caused skepticism about the painting to become "hostile incredulity", but Konody nonetheless found that the painting was clearly "very largely worked up by the master himself". Konody also found the painting to have features "far more pleasing and beautiful than in the Louvre version". A number of Italian experts in the 1920s echoed Konody's assessment of authorship by Leonardo at a time when the painting was more broadly examined. Much later authorities have made varying characterizations of the degree to which the painting can be ascribed to Leonardo; in 2012, The Guardian described the art world as being "split" over the question, and in 2013, Reuters said that it was "dismissed by some experts", but "also won support in the art world". Art historian Jean-Pierre Isbouts has endorsed Leonardo's involvement in painting the work, asserting that "24 of 27 recognised Leonardo scholars have agreed this is a Leonardo", while art historian Martin Kemp dismisses the proposition that Leonardo painted any part, and in 2012 described his contemporaries in the art world as being equivocal, or making "encouraging but noncommittal statements" on this point.Kemp and others who doubt Leonardo's hand in the painting attribute it to the Leonardeschi, Leonardo's workshop, believing it to be one of a number of copies of the Mona Lisa produced by Leonardo's collaborators, assistants, and pupils, though, as Leonardo biographer Walter Isaacson expressed it, "perhaps with an occasional helping hand from the master". In 2010, The Mona Lisa Foundation was founded to investigate if the Isleworth Mona Lisa was painted in part by Leonardo, but as an earlier version of the Louvre Mona Lisa.Differing views have been expressed on the relative weight to be given to scientific evidence versus connoisseurship. Physicist John F. Asmus, who pioneered laser-restoration techniques for Renaissance art, and who had previously examined the Mona Lisa in the Louvre for this purpose, published a computer image processing study in 1988 concluding that the brush strokes of the face in the painting were performed by the same artist responsible for the brush strokes of the face of the Mona Lisa in the Louvre, and replicated that finding in a 2016 study. However, curator Luke Syson has argued that science is "only ever one of several factors we'd use to assess the authenticity and authorship of a work of art". An independent 2015 academic journal article also attributed the work to Leonardo on stylistic grounds.

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: Focus on Isleworth Mona Lisa and explain the Description.

The Isleworth Mona Lisa is of the same subject as the Mona Lisa in the Louvre and there are many similarities between the two. Both paintings depict a dark-haired woman, Lisa Gherardini, who sits at an angle and is surrounded by the landscape behind her. The work measures 84.5 × 64.5 cm, slightly larger than the Louvre Mona Lisa. However, the Isleworth Mona Lisa is differentiated by the model being noticeably younger, having columns, and being painted on canvas. The canvas is of hand-woven linen cloth, characterized by "simple 'tabby' weaves with an average count of 18 threads per cm2 in the warp and 16 threads per cm2 in the weft, that cross one another regularly, with some variation in thickness. The result is a deformation in which the warp is slightly tighter than the weft".

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: Explain the Description of this artwork, Isleworth Mona Lisa.

The Isleworth Mona Lisa is of the same subject as the Mona Lisa in the Louvre and there are many similarities between the two. Both paintings depict a dark-haired woman, Lisa Gherardini, who sits at an angle and is surrounded by the landscape behind her. The work measures 84.5 × 64.5 cm, slightly larger than the Louvre Mona Lisa. However, the Isleworth Mona Lisa is differentiated by the model being noticeably younger, having columns, and being painted on canvas. The canvas is of hand-woven linen cloth, characterized by "simple 'tabby' weaves with an average count of 18 threads per cm2 in the warp and 16 threads per cm2 in the weft, that cross one another regularly, with some variation in thickness. The result is a deformation in which the warp is slightly tighter than the weft".

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: How does Isleworth Mona Lisa explain its Description?

The Isleworth Mona Lisa is of the same subject as the Mona Lisa in the Louvre and there are many similarities between the two. Both paintings depict a dark-haired woman, Lisa Gherardini, who sits at an angle and is surrounded by the landscape behind her. The work measures 84.5 × 64.5 cm, slightly larger than the Louvre Mona Lisa. However, the Isleworth Mona Lisa is differentiated by the model being noticeably younger, having columns, and being painted on canvas. The canvas is of hand-woven linen cloth, characterized by "simple 'tabby' weaves with an average count of 18 threads per cm2 in the warp and 16 threads per cm2 in the weft, that cross one another regularly, with some variation in thickness. The result is a deformation in which the warp is slightly tighter than the weft".

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)


Isleworth Mona Lisa

Prompt: In Isleworth Mona Lisa, how is the Description discussed?

The Isleworth Mona Lisa is of the same subject as the Mona Lisa in the Louvre and there are many similarities between the two. Both paintings depict a dark-haired woman, Lisa Gherardini, who sits at an angle and is surrounded by the landscape behind her. The work measures 84.5 × 64.5 cm, slightly larger than the Louvre Mona Lisa. However, the Isleworth Mona Lisa is differentiated by the model being noticeably younger, having columns, and being painted on canvas. The canvas is of hand-woven linen cloth, characterized by "simple 'tabby' weaves with an average count of 18 threads per cm2 in the warp and 16 threads per cm2 in the weft, that cross one another regularly, with some variation in thickness. The result is a deformation in which the warp is slightly tighter than the weft".

The Virgin and Child with St. Anne (Leonardo)

Category:Works attributed to Leonardo da Vinci

File:Sketch of the Mona Lisa by Raphael.jpg

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpg

Conservation Science in Cultural Heritage

''Young Woman on a Balcony'' by [[Raphael

Mona Lisa replicas and reinterpretations

National Museum of Art, Architecture and Design

File:Mona Lisa, Louvre and Isleworth hands.jpg

s:Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture

Hands of the Louvre ''Mona Lisa'' (top) and the ''Isleworth Mona Lisa'' (bottom)