Great Piece of Turf

Prompt: Focus on Great Piece of Turf and explain the Scholarly assessment.

The humanist scholar Conrad Celtes compared Dürer's work to the literary work of the medieval philosopher and scientist Albertus Magnus who also based his work on the observation of nature. Along with the Wild Hare, the Great Piece of Turf had been called one of the masterpieces of this part of Dürer's work.The composition shows little order and arrangement, the various roots, stems and flowers seem to be in opposition to each other. The apparent chaos, combined with the attentive detail of each individual plant, lends the painting greater realism. Though the composition of vegetation in itself is continuous and seemingly disorganised, the blank background provides a contrast to the chaos, and imposes a sense of order.Though this work has been highly valued by later art historians, a realistic representation of nature was not a goal in itself for Dürer, but simply a tool for better conveying the sacred messages of his greater works. The Great Piece of Turf was primarily a study that would help him in the development of his art. The results can be seen both in his paintings, and in his highly detailed engravings, such as Adam and Eve from 1504.

Category:Collection of the Albertina, Vienna


Great Piece of Turf

Prompt: Explain the Scholarly assessment of this artwork, Great Piece of Turf.

The humanist scholar Conrad Celtes compared Dürer's work to the literary work of the medieval philosopher and scientist Albertus Magnus who also based his work on the observation of nature. Along with the Wild Hare, the Great Piece of Turf had been called one of the masterpieces of this part of Dürer's work.The composition shows little order and arrangement, the various roots, stems and flowers seem to be in opposition to each other. The apparent chaos, combined with the attentive detail of each individual plant, lends the painting greater realism. Though the composition of vegetation in itself is continuous and seemingly disorganised, the blank background provides a contrast to the chaos, and imposes a sense of order.Though this work has been highly valued by later art historians, a realistic representation of nature was not a goal in itself for Dürer, but simply a tool for better conveying the sacred messages of his greater works. The Great Piece of Turf was primarily a study that would help him in the development of his art. The results can be seen both in his paintings, and in his highly detailed engravings, such as Adam and Eve from 1504.

Category:Collection of the Albertina, Vienna


Great Piece of Turf

Prompt: How does Great Piece of Turf explain its Scholarly assessment?

The humanist scholar Conrad Celtes compared Dürer's work to the literary work of the medieval philosopher and scientist Albertus Magnus who also based his work on the observation of nature. Along with the Wild Hare, the Great Piece of Turf had been called one of the masterpieces of this part of Dürer's work.The composition shows little order and arrangement, the various roots, stems and flowers seem to be in opposition to each other. The apparent chaos, combined with the attentive detail of each individual plant, lends the painting greater realism. Though the composition of vegetation in itself is continuous and seemingly disorganised, the blank background provides a contrast to the chaos, and imposes a sense of order.Though this work has been highly valued by later art historians, a realistic representation of nature was not a goal in itself for Dürer, but simply a tool for better conveying the sacred messages of his greater works. The Great Piece of Turf was primarily a study that would help him in the development of his art. The results can be seen both in his paintings, and in his highly detailed engravings, such as Adam and Eve from 1504.

Category:Collection of the Albertina, Vienna


Great Piece of Turf

Prompt: In Great Piece of Turf, how is the Scholarly assessment discussed?

The humanist scholar Conrad Celtes compared Dürer's work to the literary work of the medieval philosopher and scientist Albertus Magnus who also based his work on the observation of nature. Along with the Wild Hare, the Great Piece of Turf had been called one of the masterpieces of this part of Dürer's work.The composition shows little order and arrangement, the various roots, stems and flowers seem to be in opposition to each other. The apparent chaos, combined with the attentive detail of each individual plant, lends the painting greater realism. Though the composition of vegetation in itself is continuous and seemingly disorganised, the blank background provides a contrast to the chaos, and imposes a sense of order.Though this work has been highly valued by later art historians, a realistic representation of nature was not a goal in itself for Dürer, but simply a tool for better conveying the sacred messages of his greater works. The Great Piece of Turf was primarily a study that would help him in the development of his art. The results can be seen both in his paintings, and in his highly detailed engravings, such as Adam and Eve from 1504.

Category:Collection of the Albertina, Vienna


Santa Trinita Maestà

Prompt: Focus on Santa Trinita Maestà and explain the abstract.

The Santa Trinita Maestà (Italian: Maestà di Santa Trinita) is a panel painting by the Italian medieval artist Cimabue, dating to c. 1288-1292. Originally painted for the church of Santa Trinita, Florence, where it remained until 1471, it is now in the  Uffizi Gallery of Florence, Italy. It represents the Madonna enthroned with the Baby Jesus and surrounded by eight angels and, below, four half portraits of prophets.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Explain the abstract of this artwork, Santa Trinita Maestà.

The Santa Trinita Maestà (Italian: Maestà di Santa Trinita) is a panel painting by the Italian medieval artist Cimabue, dating to c. 1288-1292. Originally painted for the church of Santa Trinita, Florence, where it remained until 1471, it is now in the  Uffizi Gallery of Florence, Italy. It represents the Madonna enthroned with the Baby Jesus and surrounded by eight angels and, below, four half portraits of prophets.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: How does Santa Trinita Maestà explain its abstract?

The Santa Trinita Maestà (Italian: Maestà di Santa Trinita) is a panel painting by the Italian medieval artist Cimabue, dating to c. 1288-1292. Originally painted for the church of Santa Trinita, Florence, where it remained until 1471, it is now in the  Uffizi Gallery of Florence, Italy. It represents the Madonna enthroned with the Baby Jesus and surrounded by eight angels and, below, four half portraits of prophets.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: In Santa Trinita Maestà, how is the abstract discussed?

The Santa Trinita Maestà (Italian: Maestà di Santa Trinita) is a panel painting by the Italian medieval artist Cimabue, dating to c. 1288-1292. Originally painted for the church of Santa Trinita, Florence, where it remained until 1471, it is now in the  Uffizi Gallery of Florence, Italy. It represents the Madonna enthroned with the Baby Jesus and surrounded by eight angels and, below, four half portraits of prophets.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Focus on Santa Trinita Maestà and explain the History.

The commissioning client of the painting is unknown, but they could have been a member of the order of Vallombrosians, who governed the Santa Trinita at the time, or a member of another religious order that intended the painting for another destination.According to Vasari's testimony in his Lives, the work remained at the Santa Trinita until 1471, when it was replaced by the Trinitá of Alesso Baldovinetti and transferred to a side chapel of the church, since it was less respected than the newer Renaissance paintings. Over the years, it was eventually relegated to the infirmary of the monastery. With the reconsideration of "primitive" Italian art, the painting passed to the Florentine Galleria dell'Accademia in 1810 and then on to the Uffizi in 1919.At an unknown date, the painting was cut into a rectangular shape by removing the uppermost part of the painting's apex and the addition of two parts on which angels were painted. The panel was returned to its original pointed form during its first restoration in 1890 by Oreste Cambi. Cambi removed the two additions and creating an appropriately styled point for the painting, which is still present. A second restoration was completed by Marcucci in 1947–1948 and a third by Alfio Del Serra in 1993.Vasari, and the Libro di Antonio Billi attributed this painting to Cimabue, and the attribution has been confirmed by most modern scholars, with the exception of Guglielmo della Valle in the 18th century and Langton Douglas in the 19th. Critics are more divided, however, over the work's dating. It's uncertain whether the painting was executed before or after the frescoes at the Basilica of Saint Francis of Assisi. Contemporary critics have tended to date the work to after the frescoes, between 1290–1300.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Explain the History of this artwork, Santa Trinita Maestà.

The commissioning client of the painting is unknown, but they could have been a member of the order of Vallombrosians, who governed the Santa Trinita at the time, or a member of another religious order that intended the painting for another destination.According to Vasari's testimony in his Lives, the work remained at the Santa Trinita until 1471, when it was replaced by the Trinitá of Alesso Baldovinetti and transferred to a side chapel of the church, since it was less respected than the newer Renaissance paintings. Over the years, it was eventually relegated to the infirmary of the monastery. With the reconsideration of "primitive" Italian art, the painting passed to the Florentine Galleria dell'Accademia in 1810 and then on to the Uffizi in 1919.At an unknown date, the painting was cut into a rectangular shape by removing the uppermost part of the painting's apex and the addition of two parts on which angels were painted. The panel was returned to its original pointed form during its first restoration in 1890 by Oreste Cambi. Cambi removed the two additions and creating an appropriately styled point for the painting, which is still present. A second restoration was completed by Marcucci in 1947–1948 and a third by Alfio Del Serra in 1993.Vasari, and the Libro di Antonio Billi attributed this painting to Cimabue, and the attribution has been confirmed by most modern scholars, with the exception of Guglielmo della Valle in the 18th century and Langton Douglas in the 19th. Critics are more divided, however, over the work's dating. It's uncertain whether the painting was executed before or after the frescoes at the Basilica of Saint Francis of Assisi. Contemporary critics have tended to date the work to after the frescoes, between 1290–1300.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: How does Santa Trinita Maestà explain its History?

The commissioning client of the painting is unknown, but they could have been a member of the order of Vallombrosians, who governed the Santa Trinita at the time, or a member of another religious order that intended the painting for another destination.According to Vasari's testimony in his Lives, the work remained at the Santa Trinita until 1471, when it was replaced by the Trinitá of Alesso Baldovinetti and transferred to a side chapel of the church, since it was less respected than the newer Renaissance paintings. Over the years, it was eventually relegated to the infirmary of the monastery. With the reconsideration of "primitive" Italian art, the painting passed to the Florentine Galleria dell'Accademia in 1810 and then on to the Uffizi in 1919.At an unknown date, the painting was cut into a rectangular shape by removing the uppermost part of the painting's apex and the addition of two parts on which angels were painted. The panel was returned to its original pointed form during its first restoration in 1890 by Oreste Cambi. Cambi removed the two additions and creating an appropriately styled point for the painting, which is still present. A second restoration was completed by Marcucci in 1947–1948 and a third by Alfio Del Serra in 1993.Vasari, and the Libro di Antonio Billi attributed this painting to Cimabue, and the attribution has been confirmed by most modern scholars, with the exception of Guglielmo della Valle in the 18th century and Langton Douglas in the 19th. Critics are more divided, however, over the work's dating. It's uncertain whether the painting was executed before or after the frescoes at the Basilica of Saint Francis of Assisi. Contemporary critics have tended to date the work to after the frescoes, between 1290–1300.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: In Santa Trinita Maestà, how is the History discussed?

The commissioning client of the painting is unknown, but they could have been a member of the order of Vallombrosians, who governed the Santa Trinita at the time, or a member of another religious order that intended the painting for another destination.According to Vasari's testimony in his Lives, the work remained at the Santa Trinita until 1471, when it was replaced by the Trinitá of Alesso Baldovinetti and transferred to a side chapel of the church, since it was less respected than the newer Renaissance paintings. Over the years, it was eventually relegated to the infirmary of the monastery. With the reconsideration of "primitive" Italian art, the painting passed to the Florentine Galleria dell'Accademia in 1810 and then on to the Uffizi in 1919.At an unknown date, the painting was cut into a rectangular shape by removing the uppermost part of the painting's apex and the addition of two parts on which angels were painted. The panel was returned to its original pointed form during its first restoration in 1890 by Oreste Cambi. Cambi removed the two additions and creating an appropriately styled point for the painting, which is still present. A second restoration was completed by Marcucci in 1947–1948 and a third by Alfio Del Serra in 1993.Vasari, and the Libro di Antonio Billi attributed this painting to Cimabue, and the attribution has been confirmed by most modern scholars, with the exception of Guglielmo della Valle in the 18th century and Langton Douglas in the 19th. Critics are more divided, however, over the work's dating. It's uncertain whether the painting was executed before or after the frescoes at the Basilica of Saint Francis of Assisi. Contemporary critics have tended to date the work to after the frescoes, between 1290–1300.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Focus on Santa Trinita Maestà and explain the Description.

The painting displays Byzantine iconography much like the Hodegetria archetype (in Greek, the name means "pointing the way"), because the Virgin is indicating toward the Baby Jesus. In this style, the Madonna symbolizes the Christian church and  Jesus life, truth, and the proper way. The Madonna is depicted in three-quarters profile, while Jesus looks straight ahead.The throne is depicted from an innovative frontal view, with a large gap at the center and seen in perspective, which gives it a sense of three dimensions unusual for the time. (The preceding Maestás of Cimabue depicted more angular thrones.) The throne assumes a new sense of might, as an architectural mass embellished with carvings and marquetry. This central perspective, used by the mature Cimabue, was taken up again by Giotto, Duccio, and other artists of the 14th century. In a striking composition, the throne creates a stage with the wide opening in its base through which four prophets are depicted in half bust view. They are recognizable by their cartouchesm which contain verses from the Old Testament that refer to Marie and the Incarnation of Jesus. The verses certify their prophecies and evoke the descent of Jesus from their lineage. The first, with the text "Creavit Dominus Novum super terram foemina circundavit viro" is Jeremiah, followed by Abraham toward the center ("In semine tuo benedicentur omnes gentes") and David ("De fructu ventris tuo ponam super sedem tuam"), and finally Isaiah at right ("Ecce virgo concipet et pariet"). The gold behind the prophets, instead of flattening the painting, seems to accentuate the feeling of emptiness, which makes the prophets seem to stare out of windows or caves rather than that they are pressed against a wall. Composed and solemn, Abraham and David in the center below the throne recall that Jesus descended from their lineage. The Christian meaning of the work, well-fitted to a church dedicated to the Holy Trinity, is thus focused on the threefold nature of the Virgin who is surrounded by the Holy Spirit. Below, at the sides of the throne, Jeremiah and Isaiah gaze up towards the child as if to confirm the prophecies written in their documents on the miraculous virgin birth of Jesus. With their gaze, they create a triangle whose vertex is the throne of Marie. The arrangement of the four prophets has a precise doctrinal explanation: the patriarchs toward the center represent that human rational capacity, that inquires in the mystery of the Incarnation. Meanwhile, the prophets on the sides have dissolved their doubts through contemplation and are in a state of mystical rapture. The heads of the angels are alternately inclined inwards or outwards, avoiding a completely profile representation, which was then reserved only for secondary or negative figures. (Giotto also broke that principle.) The angels closely resemble those in the Maestà of Cimabue in the frescoes of the Basilica inferiore di San Francesco d'Assisi. Their bodies are solid, modulated by a delicate chiarascuro that is delicately sfumato (a novel technique of Cimabue's) and the fluidity of their clothes. The red and blue colors of their clothes indicate their substance, according to Renaissance thought: a fusion of fire and air. The angels above turn their heads and sink into the third dimension.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Explain the Description of this artwork, Santa Trinita Maestà.

The painting displays Byzantine iconography much like the Hodegetria archetype (in Greek, the name means "pointing the way"), because the Virgin is indicating toward the Baby Jesus. In this style, the Madonna symbolizes the Christian church and  Jesus life, truth, and the proper way. The Madonna is depicted in three-quarters profile, while Jesus looks straight ahead.The throne is depicted from an innovative frontal view, with a large gap at the center and seen in perspective, which gives it a sense of three dimensions unusual for the time. (The preceding Maestás of Cimabue depicted more angular thrones.) The throne assumes a new sense of might, as an architectural mass embellished with carvings and marquetry. This central perspective, used by the mature Cimabue, was taken up again by Giotto, Duccio, and other artists of the 14th century. In a striking composition, the throne creates a stage with the wide opening in its base through which four prophets are depicted in half bust view. They are recognizable by their cartouchesm which contain verses from the Old Testament that refer to Marie and the Incarnation of Jesus. The verses certify their prophecies and evoke the descent of Jesus from their lineage. The first, with the text "Creavit Dominus Novum super terram foemina circundavit viro" is Jeremiah, followed by Abraham toward the center ("In semine tuo benedicentur omnes gentes") and David ("De fructu ventris tuo ponam super sedem tuam"), and finally Isaiah at right ("Ecce virgo concipet et pariet"). The gold behind the prophets, instead of flattening the painting, seems to accentuate the feeling of emptiness, which makes the prophets seem to stare out of windows or caves rather than that they are pressed against a wall. Composed and solemn, Abraham and David in the center below the throne recall that Jesus descended from their lineage. The Christian meaning of the work, well-fitted to a church dedicated to the Holy Trinity, is thus focused on the threefold nature of the Virgin who is surrounded by the Holy Spirit. Below, at the sides of the throne, Jeremiah and Isaiah gaze up towards the child as if to confirm the prophecies written in their documents on the miraculous virgin birth of Jesus. With their gaze, they create a triangle whose vertex is the throne of Marie. The arrangement of the four prophets has a precise doctrinal explanation: the patriarchs toward the center represent that human rational capacity, that inquires in the mystery of the Incarnation. Meanwhile, the prophets on the sides have dissolved their doubts through contemplation and are in a state of mystical rapture. The heads of the angels are alternately inclined inwards or outwards, avoiding a completely profile representation, which was then reserved only for secondary or negative figures. (Giotto also broke that principle.) The angels closely resemble those in the Maestà of Cimabue in the frescoes of the Basilica inferiore di San Francesco d'Assisi. Their bodies are solid, modulated by a delicate chiarascuro that is delicately sfumato (a novel technique of Cimabue's) and the fluidity of their clothes. The red and blue colors of their clothes indicate their substance, according to Renaissance thought: a fusion of fire and air. The angels above turn their heads and sink into the third dimension.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: How does Santa Trinita Maestà explain its Description?

The painting displays Byzantine iconography much like the Hodegetria archetype (in Greek, the name means "pointing the way"), because the Virgin is indicating toward the Baby Jesus. In this style, the Madonna symbolizes the Christian church and  Jesus life, truth, and the proper way. The Madonna is depicted in three-quarters profile, while Jesus looks straight ahead.The throne is depicted from an innovative frontal view, with a large gap at the center and seen in perspective, which gives it a sense of three dimensions unusual for the time. (The preceding Maestás of Cimabue depicted more angular thrones.) The throne assumes a new sense of might, as an architectural mass embellished with carvings and marquetry. This central perspective, used by the mature Cimabue, was taken up again by Giotto, Duccio, and other artists of the 14th century. In a striking composition, the throne creates a stage with the wide opening in its base through which four prophets are depicted in half bust view. They are recognizable by their cartouchesm which contain verses from the Old Testament that refer to Marie and the Incarnation of Jesus. The verses certify their prophecies and evoke the descent of Jesus from their lineage. The first, with the text "Creavit Dominus Novum super terram foemina circundavit viro" is Jeremiah, followed by Abraham toward the center ("In semine tuo benedicentur omnes gentes") and David ("De fructu ventris tuo ponam super sedem tuam"), and finally Isaiah at right ("Ecce virgo concipet et pariet"). The gold behind the prophets, instead of flattening the painting, seems to accentuate the feeling of emptiness, which makes the prophets seem to stare out of windows or caves rather than that they are pressed against a wall. Composed and solemn, Abraham and David in the center below the throne recall that Jesus descended from their lineage. The Christian meaning of the work, well-fitted to a church dedicated to the Holy Trinity, is thus focused on the threefold nature of the Virgin who is surrounded by the Holy Spirit. Below, at the sides of the throne, Jeremiah and Isaiah gaze up towards the child as if to confirm the prophecies written in their documents on the miraculous virgin birth of Jesus. With their gaze, they create a triangle whose vertex is the throne of Marie. The arrangement of the four prophets has a precise doctrinal explanation: the patriarchs toward the center represent that human rational capacity, that inquires in the mystery of the Incarnation. Meanwhile, the prophets on the sides have dissolved their doubts through contemplation and are in a state of mystical rapture. The heads of the angels are alternately inclined inwards or outwards, avoiding a completely profile representation, which was then reserved only for secondary or negative figures. (Giotto also broke that principle.) The angels closely resemble those in the Maestà of Cimabue in the frescoes of the Basilica inferiore di San Francesco d'Assisi. Their bodies are solid, modulated by a delicate chiarascuro that is delicately sfumato (a novel technique of Cimabue's) and the fluidity of their clothes. The red and blue colors of their clothes indicate their substance, according to Renaissance thought: a fusion of fire and air. The angels above turn their heads and sink into the third dimension.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: In Santa Trinita Maestà, how is the Description discussed?

The painting displays Byzantine iconography much like the Hodegetria archetype (in Greek, the name means "pointing the way"), because the Virgin is indicating toward the Baby Jesus. In this style, the Madonna symbolizes the Christian church and  Jesus life, truth, and the proper way. The Madonna is depicted in three-quarters profile, while Jesus looks straight ahead.The throne is depicted from an innovative frontal view, with a large gap at the center and seen in perspective, which gives it a sense of three dimensions unusual for the time. (The preceding Maestás of Cimabue depicted more angular thrones.) The throne assumes a new sense of might, as an architectural mass embellished with carvings and marquetry. This central perspective, used by the mature Cimabue, was taken up again by Giotto, Duccio, and other artists of the 14th century. In a striking composition, the throne creates a stage with the wide opening in its base through which four prophets are depicted in half bust view. They are recognizable by their cartouchesm which contain verses from the Old Testament that refer to Marie and the Incarnation of Jesus. The verses certify their prophecies and evoke the descent of Jesus from their lineage. The first, with the text "Creavit Dominus Novum super terram foemina circundavit viro" is Jeremiah, followed by Abraham toward the center ("In semine tuo benedicentur omnes gentes") and David ("De fructu ventris tuo ponam super sedem tuam"), and finally Isaiah at right ("Ecce virgo concipet et pariet"). The gold behind the prophets, instead of flattening the painting, seems to accentuate the feeling of emptiness, which makes the prophets seem to stare out of windows or caves rather than that they are pressed against a wall. Composed and solemn, Abraham and David in the center below the throne recall that Jesus descended from their lineage. The Christian meaning of the work, well-fitted to a church dedicated to the Holy Trinity, is thus focused on the threefold nature of the Virgin who is surrounded by the Holy Spirit. Below, at the sides of the throne, Jeremiah and Isaiah gaze up towards the child as if to confirm the prophecies written in their documents on the miraculous virgin birth of Jesus. With their gaze, they create a triangle whose vertex is the throne of Marie. The arrangement of the four prophets has a precise doctrinal explanation: the patriarchs toward the center represent that human rational capacity, that inquires in the mystery of the Incarnation. Meanwhile, the prophets on the sides have dissolved their doubts through contemplation and are in a state of mystical rapture. The heads of the angels are alternately inclined inwards or outwards, avoiding a completely profile representation, which was then reserved only for secondary or negative figures. (Giotto also broke that principle.) The angels closely resemble those in the Maestà of Cimabue in the frescoes of the Basilica inferiore di San Francesco d'Assisi. Their bodies are solid, modulated by a delicate chiarascuro that is delicately sfumato (a novel technique of Cimabue's) and the fluidity of their clothes. The red and blue colors of their clothes indicate their substance, according to Renaissance thought: a fusion of fire and air. The angels above turn their heads and sink into the third dimension.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Focus on Santa Trinita Maestà and explain the Style.

The painting demonstrates the mature style of Cimabue, in which the artist overcomes the more rigid Byzantine styles with forms that are more loose and humanistic. According to Giorgio Vasari, this style made Cimabue the first to replace that style. The frontal view of the throne, the serene face of the Virgin, the details of the blunt face and sfumatoed chiaroscuro place the work far from the Byzantine canon from which Cimabue gradually freed himself. Compared to his preceding Maestà paintings, this one presents a more profound use of perspective. In the throne, there are three vertical panels with increasing depth, compared to the two panels of Cimabue's previous works. The pedestal and steps of the throne also have a concave design and are hollowed out in the front. The throne is shown from the front and reveals both its inner sides and that it is not a simple cross shape. The layout of the angels is also different. They are not simply placed over, but around the throne, which gives the composition further depth.The figures are more expanded than Cimabue's earlier work, giving greater realism. The folds in clothing are no longer rigid and tight, as in the Maestà of the Louvre from c. 1280. Instead they fall amply, as over the legs of Marie, or appear less arched, as in the blue mantle that covers her head. Byzantine iconography reappears in that blue mantle, but only for decorative purposes—a serene addition to the ample folds. The golden highlights from Damascening suggest the fluid touch of light on the Madonna's mantle and the clothing of Jesus. And the facial chiarascuro creates more effective contrast.There is also better anatomical features to the faces, with their smoothed edges and detailed brushstrokes. For example, the Madonna has a cut at the level of her nostril that slips into the fin of her nose or accents her smile, a detail missing from early Cimabue. Despite these improvements, there is a certain resistance to the stylistic innovations and techniques of Duccio and Giotto. This Maestà does not have the figurative refinement of the two works of the 1280s by Duccio, the Rucellai Madonna and the Crevole Madonna. Even the innovations of students of Giotto from 1290 on, barely appear here. The contrasts achieved here by Cimabue, for example, do not follow the principles of a single light source. Nor do the folds seem to find better positions over the bodies. The gazes remain vague. The color palette is also limited in its complexity, especially when compared with the recent developments of the nascent Sienese School and the palette of Giotto himself. In that, Cimabue seems to recreate features of his earlier work, which made him famous but now make him seem outdated compared to his contemporaries.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Explain the Style of this artwork, Santa Trinita Maestà.

The painting demonstrates the mature style of Cimabue, in which the artist overcomes the more rigid Byzantine styles with forms that are more loose and humanistic. According to Giorgio Vasari, this style made Cimabue the first to replace that style. The frontal view of the throne, the serene face of the Virgin, the details of the blunt face and sfumatoed chiaroscuro place the work far from the Byzantine canon from which Cimabue gradually freed himself. Compared to his preceding Maestà paintings, this one presents a more profound use of perspective. In the throne, there are three vertical panels with increasing depth, compared to the two panels of Cimabue's previous works. The pedestal and steps of the throne also have a concave design and are hollowed out in the front. The throne is shown from the front and reveals both its inner sides and that it is not a simple cross shape. The layout of the angels is also different. They are not simply placed over, but around the throne, which gives the composition further depth.The figures are more expanded than Cimabue's earlier work, giving greater realism. The folds in clothing are no longer rigid and tight, as in the Maestà of the Louvre from c. 1280. Instead they fall amply, as over the legs of Marie, or appear less arched, as in the blue mantle that covers her head. Byzantine iconography reappears in that blue mantle, but only for decorative purposes—a serene addition to the ample folds. The golden highlights from Damascening suggest the fluid touch of light on the Madonna's mantle and the clothing of Jesus. And the facial chiarascuro creates more effective contrast.There is also better anatomical features to the faces, with their smoothed edges and detailed brushstrokes. For example, the Madonna has a cut at the level of her nostril that slips into the fin of her nose or accents her smile, a detail missing from early Cimabue. Despite these improvements, there is a certain resistance to the stylistic innovations and techniques of Duccio and Giotto. This Maestà does not have the figurative refinement of the two works of the 1280s by Duccio, the Rucellai Madonna and the Crevole Madonna. Even the innovations of students of Giotto from 1290 on, barely appear here. The contrasts achieved here by Cimabue, for example, do not follow the principles of a single light source. Nor do the folds seem to find better positions over the bodies. The gazes remain vague. The color palette is also limited in its complexity, especially when compared with the recent developments of the nascent Sienese School and the palette of Giotto himself. In that, Cimabue seems to recreate features of his earlier work, which made him famous but now make him seem outdated compared to his contemporaries.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: How does Santa Trinita Maestà explain its Style?

The painting demonstrates the mature style of Cimabue, in which the artist overcomes the more rigid Byzantine styles with forms that are more loose and humanistic. According to Giorgio Vasari, this style made Cimabue the first to replace that style. The frontal view of the throne, the serene face of the Virgin, the details of the blunt face and sfumatoed chiaroscuro place the work far from the Byzantine canon from which Cimabue gradually freed himself. Compared to his preceding Maestà paintings, this one presents a more profound use of perspective. In the throne, there are three vertical panels with increasing depth, compared to the two panels of Cimabue's previous works. The pedestal and steps of the throne also have a concave design and are hollowed out in the front. The throne is shown from the front and reveals both its inner sides and that it is not a simple cross shape. The layout of the angels is also different. They are not simply placed over, but around the throne, which gives the composition further depth.The figures are more expanded than Cimabue's earlier work, giving greater realism. The folds in clothing are no longer rigid and tight, as in the Maestà of the Louvre from c. 1280. Instead they fall amply, as over the legs of Marie, or appear less arched, as in the blue mantle that covers her head. Byzantine iconography reappears in that blue mantle, but only for decorative purposes—a serene addition to the ample folds. The golden highlights from Damascening suggest the fluid touch of light on the Madonna's mantle and the clothing of Jesus. And the facial chiarascuro creates more effective contrast.There is also better anatomical features to the faces, with their smoothed edges and detailed brushstrokes. For example, the Madonna has a cut at the level of her nostril that slips into the fin of her nose or accents her smile, a detail missing from early Cimabue. Despite these improvements, there is a certain resistance to the stylistic innovations and techniques of Duccio and Giotto. This Maestà does not have the figurative refinement of the two works of the 1280s by Duccio, the Rucellai Madonna and the Crevole Madonna. Even the innovations of students of Giotto from 1290 on, barely appear here. The contrasts achieved here by Cimabue, for example, do not follow the principles of a single light source. Nor do the folds seem to find better positions over the bodies. The gazes remain vague. The color palette is also limited in its complexity, especially when compared with the recent developments of the nascent Sienese School and the palette of Giotto himself. In that, Cimabue seems to recreate features of his earlier work, which made him famous but now make him seem outdated compared to his contemporaries.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: In Santa Trinita Maestà, how is the Style discussed?

The painting demonstrates the mature style of Cimabue, in which the artist overcomes the more rigid Byzantine styles with forms that are more loose and humanistic. According to Giorgio Vasari, this style made Cimabue the first to replace that style. The frontal view of the throne, the serene face of the Virgin, the details of the blunt face and sfumatoed chiaroscuro place the work far from the Byzantine canon from which Cimabue gradually freed himself. Compared to his preceding Maestà paintings, this one presents a more profound use of perspective. In the throne, there are three vertical panels with increasing depth, compared to the two panels of Cimabue's previous works. The pedestal and steps of the throne also have a concave design and are hollowed out in the front. The throne is shown from the front and reveals both its inner sides and that it is not a simple cross shape. The layout of the angels is also different. They are not simply placed over, but around the throne, which gives the composition further depth.The figures are more expanded than Cimabue's earlier work, giving greater realism. The folds in clothing are no longer rigid and tight, as in the Maestà of the Louvre from c. 1280. Instead they fall amply, as over the legs of Marie, or appear less arched, as in the blue mantle that covers her head. Byzantine iconography reappears in that blue mantle, but only for decorative purposes—a serene addition to the ample folds. The golden highlights from Damascening suggest the fluid touch of light on the Madonna's mantle and the clothing of Jesus. And the facial chiarascuro creates more effective contrast.There is also better anatomical features to the faces, with their smoothed edges and detailed brushstrokes. For example, the Madonna has a cut at the level of her nostril that slips into the fin of her nose or accents her smile, a detail missing from early Cimabue. Despite these improvements, there is a certain resistance to the stylistic innovations and techniques of Duccio and Giotto. This Maestà does not have the figurative refinement of the two works of the 1280s by Duccio, the Rucellai Madonna and the Crevole Madonna. Even the innovations of students of Giotto from 1290 on, barely appear here. The contrasts achieved here by Cimabue, for example, do not follow the principles of a single light source. Nor do the folds seem to find better positions over the bodies. The gazes remain vague. The color palette is also limited in its complexity, especially when compared with the recent developments of the nascent Sienese School and the palette of Giotto himself. In that, Cimabue seems to recreate features of his earlier work, which made him famous but now make him seem outdated compared to his contemporaries.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Basilica superiore di San Francesco d'Assisi

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: In the context of Santa Trinita Maestà, explain the Dating and the Style.

Although there are not documents to attest to a specific date, the work is placed by recent critics in the mature phase of Cimabue, between c. 1290 and 1300, on the basis of stylistic details.The Marie sitting upon the throne has a distinctly large size, greater than the more tapered Maestà of the Louvre of c. 1280. This transition is seen in the frescoes of Basilica superiore di San Francesco d'Assisi of c. 1288–1292, where the figures have a size not seen in Cimabue's previous works. The folds of blue mantles no longer wraps but drapes loosely on bodies, on the knees of Marie, for example. The folds above her head fall vertically and are not drawn into concentric circles as in the first Madonna paintings by Cimabue, like the Louvre Maestà, Virgin and Child with Two Angels, or the Maestà of Santa Maria dei Servi. A more recent, similar painting is the Maestà di Assisi of c. 1288. In the Santa Trinita Maestà, Marie's mantle opens over her chest to reveal the red maphorion beneath, in a manner similar to the 1288 Maestà and differing from the others.The bridge of the nose has the faded left outline and the nostrils don't look like a simple thickening, but a kind of incision that enter the fin of the nose, details lacking in the earlier Maestàs. The mouth has a serene air, almost a smile, that contrasts with the sad and serious air of the Louvre Maestà and the Virgin and Child with Two Angels, but that is found in the Maestà di Assisi and Maestà of Santa Maria dei Servi.Even the color of the angels' wings is indicative. It changes from dark colors of flight feathers below, to the clear, lively colors of down feathers that grow darker the higher they are. This palette use seems like the end of the evolution that started with the c. 1280 Louvre Maestà.But there three details that help locate this Maestà after the Maestà di Assisi of c. 1288. The throne is represented from the front and not diagonally, as in all the other Cimabue Maestàs. The passage of the diagonal representation to one that is frontal is seen in the Assisi frescoes. There, only in the apse representing Christ and the Virgin Enthroned and the last of the Assisi frescoes, is there a frontal view. Even the students of Duccio and Giotto depicted thrones in this way for all of the 1290s and others, indicated as the representation of a frontal-view throne was a late achievement of Cimabue, found it only in this Santa Trinita Maestà. The second detail is the nose bridge that is straight instead of hooked, as in the earlier Maestàs, including those in Assisi. Finally, the aureola: it is adorned with dark punches in the external margins, a style of the 1290s that is also in the Assisi halos. A dating after the Maestà di Assisi in 1288 and the Assisi frescoes that ended in 1292, when Cimabue returned to Tuscany, seems reasonable for this Maestà.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Explain the Dating about the Style of this artwork, Santa Trinita Maestà.

Although there are not documents to attest to a specific date, the work is placed by recent critics in the mature phase of Cimabue, between c. 1290 and 1300, on the basis of stylistic details.The Marie sitting upon the throne has a distinctly large size, greater than the more tapered Maestà of the Louvre of c. 1280. This transition is seen in the frescoes of Basilica superiore di San Francesco d'Assisi of c. 1288–1292, where the figures have a size not seen in Cimabue's previous works. The folds of blue mantles no longer wraps but drapes loosely on bodies, on the knees of Marie, for example. The folds above her head fall vertically and are not drawn into concentric circles as in the first Madonna paintings by Cimabue, like the Louvre Maestà, Virgin and Child with Two Angels, or the Maestà of Santa Maria dei Servi. A more recent, similar painting is the Maestà di Assisi of c. 1288. In the Santa Trinita Maestà, Marie's mantle opens over her chest to reveal the red maphorion beneath, in a manner similar to the 1288 Maestà and differing from the others.The bridge of the nose has the faded left outline and the nostrils don't look like a simple thickening, but a kind of incision that enter the fin of the nose, details lacking in the earlier Maestàs. The mouth has a serene air, almost a smile, that contrasts with the sad and serious air of the Louvre Maestà and the Virgin and Child with Two Angels, but that is found in the Maestà di Assisi and Maestà of Santa Maria dei Servi.Even the color of the angels' wings is indicative. It changes from dark colors of flight feathers below, to the clear, lively colors of down feathers that grow darker the higher they are. This palette use seems like the end of the evolution that started with the c. 1280 Louvre Maestà.But there three details that help locate this Maestà after the Maestà di Assisi of c. 1288. The throne is represented from the front and not diagonally, as in all the other Cimabue Maestàs. The passage of the diagonal representation to one that is frontal is seen in the Assisi frescoes. There, only in the apse representing Christ and the Virgin Enthroned and the last of the Assisi frescoes, is there a frontal view. Even the students of Duccio and Giotto depicted thrones in this way for all of the 1290s and others, indicated as the representation of a frontal-view throne was a late achievement of Cimabue, found it only in this Santa Trinita Maestà. The second detail is the nose bridge that is straight instead of hooked, as in the earlier Maestàs, including those in Assisi. Finally, the aureola: it is adorned with dark punches in the external margins, a style of the 1290s that is also in the Assisi halos. A dating after the Maestà di Assisi in 1288 and the Assisi frescoes that ended in 1292, when Cimabue returned to Tuscany, seems reasonable for this Maestà.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: In Santa Trinita Maestà, how is the Dating of the Style explained?

Although there are not documents to attest to a specific date, the work is placed by recent critics in the mature phase of Cimabue, between c. 1290 and 1300, on the basis of stylistic details.The Marie sitting upon the throne has a distinctly large size, greater than the more tapered Maestà of the Louvre of c. 1280. This transition is seen in the frescoes of Basilica superiore di San Francesco d'Assisi of c. 1288–1292, where the figures have a size not seen in Cimabue's previous works. The folds of blue mantles no longer wraps but drapes loosely on bodies, on the knees of Marie, for example. The folds above her head fall vertically and are not drawn into concentric circles as in the first Madonna paintings by Cimabue, like the Louvre Maestà, Virgin and Child with Two Angels, or the Maestà of Santa Maria dei Servi. A more recent, similar painting is the Maestà di Assisi of c. 1288. In the Santa Trinita Maestà, Marie's mantle opens over her chest to reveal the red maphorion beneath, in a manner similar to the 1288 Maestà and differing from the others.The bridge of the nose has the faded left outline and the nostrils don't look like a simple thickening, but a kind of incision that enter the fin of the nose, details lacking in the earlier Maestàs. The mouth has a serene air, almost a smile, that contrasts with the sad and serious air of the Louvre Maestà and the Virgin and Child with Two Angels, but that is found in the Maestà di Assisi and Maestà of Santa Maria dei Servi.Even the color of the angels' wings is indicative. It changes from dark colors of flight feathers below, to the clear, lively colors of down feathers that grow darker the higher they are. This palette use seems like the end of the evolution that started with the c. 1280 Louvre Maestà.But there three details that help locate this Maestà after the Maestà di Assisi of c. 1288. The throne is represented from the front and not diagonally, as in all the other Cimabue Maestàs. The passage of the diagonal representation to one that is frontal is seen in the Assisi frescoes. There, only in the apse representing Christ and the Virgin Enthroned and the last of the Assisi frescoes, is there a frontal view. Even the students of Duccio and Giotto depicted thrones in this way for all of the 1290s and others, indicated as the representation of a frontal-view throne was a late achievement of Cimabue, found it only in this Santa Trinita Maestà. The second detail is the nose bridge that is straight instead of hooked, as in the earlier Maestàs, including those in Assisi. Finally, the aureola: it is adorned with dark punches in the external margins, a style of the 1290s that is also in the Assisi halos. A dating after the Maestà di Assisi in 1288 and the Assisi frescoes that ended in 1292, when Cimabue returned to Tuscany, seems reasonable for this Maestà.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Santa Trinita Maestà

Prompt: Describe the characteristics of the Dating in Santa Trinita Maestà's Style.

Although there are not documents to attest to a specific date, the work is placed by recent critics in the mature phase of Cimabue, between c. 1290 and 1300, on the basis of stylistic details.The Marie sitting upon the throne has a distinctly large size, greater than the more tapered Maestà of the Louvre of c. 1280. This transition is seen in the frescoes of Basilica superiore di San Francesco d'Assisi of c. 1288–1292, where the figures have a size not seen in Cimabue's previous works. The folds of blue mantles no longer wraps but drapes loosely on bodies, on the knees of Marie, for example. The folds above her head fall vertically and are not drawn into concentric circles as in the first Madonna paintings by Cimabue, like the Louvre Maestà, Virgin and Child with Two Angels, or the Maestà of Santa Maria dei Servi. A more recent, similar painting is the Maestà di Assisi of c. 1288. In the Santa Trinita Maestà, Marie's mantle opens over her chest to reveal the red maphorion beneath, in a manner similar to the 1288 Maestà and differing from the others.The bridge of the nose has the faded left outline and the nostrils don't look like a simple thickening, but a kind of incision that enter the fin of the nose, details lacking in the earlier Maestàs. The mouth has a serene air, almost a smile, that contrasts with the sad and serious air of the Louvre Maestà and the Virgin and Child with Two Angels, but that is found in the Maestà di Assisi and Maestà of Santa Maria dei Servi.Even the color of the angels' wings is indicative. It changes from dark colors of flight feathers below, to the clear, lively colors of down feathers that grow darker the higher they are. This palette use seems like the end of the evolution that started with the c. 1280 Louvre Maestà.But there three details that help locate this Maestà after the Maestà di Assisi of c. 1288. The throne is represented from the front and not diagonally, as in all the other Cimabue Maestàs. The passage of the diagonal representation to one that is frontal is seen in the Assisi frescoes. There, only in the apse representing Christ and the Virgin Enthroned and the last of the Assisi frescoes, is there a frontal view. Even the students of Duccio and Giotto depicted thrones in this way for all of the 1290s and others, indicated as the representation of a frontal-view throne was a late achievement of Cimabue, found it only in this Santa Trinita Maestà. The second detail is the nose bridge that is straight instead of hooked, as in the earlier Maestàs, including those in Assisi. Finally, the aureola: it is adorned with dark punches in the external margins, a style of the 1290s that is also in the Assisi halos. A dating after the Maestà di Assisi in 1288 and the Assisi frescoes that ended in 1292, when Cimabue returned to Tuscany, seems reasonable for this Maestà.

Virgin and Child with Two Angels (Cimabue)

''Cimabue's Madonna Carried in [[Procession#Roman_Catholics

Category:Paintings of the Madonna and Child

Detail of Cimabue's ''Maestà di Assisi'' fresco, {{circa}} 1288

Detail of Abraham and David below the throne

Basilica inferiore di San Francesco d'Assisi

File:Frederic Leighton - Cimabue's Madonna Carried in Procession - Google Art Project 2.jpg


Saint Matthew and the Angel

Prompt: Focus on Saint Matthew and the Angel and explain the abstract.

Saint Matthew and the Angel (1602) is a painting from the Italian master Caravaggio (1571–1610), completed for the Contarelli Chapel in the church of San Luigi dei Francesi in Rome. It was destroyed in Berlin in 1945 and is now known only from black-and-white photographs and enhanced color reproductions.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Explain the abstract of this artwork, Saint Matthew and the Angel.

Saint Matthew and the Angel (1602) is a painting from the Italian master Caravaggio (1571–1610), completed for the Contarelli Chapel in the church of San Luigi dei Francesi in Rome. It was destroyed in Berlin in 1945 and is now known only from black-and-white photographs and enhanced color reproductions.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: How does Saint Matthew and the Angel explain its abstract?

Saint Matthew and the Angel (1602) is a painting from the Italian master Caravaggio (1571–1610), completed for the Contarelli Chapel in the church of San Luigi dei Francesi in Rome. It was destroyed in Berlin in 1945 and is now known only from black-and-white photographs and enhanced color reproductions.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: In Saint Matthew and the Angel, how is the abstract discussed?

Saint Matthew and the Angel (1602) is a painting from the Italian master Caravaggio (1571–1610), completed for the Contarelli Chapel in the church of San Luigi dei Francesi in Rome. It was destroyed in Berlin in 1945 and is now known only from black-and-white photographs and enhanced color reproductions.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Focus on Saint Matthew and the Angel and explain the Style.

Caravaggio was known for painting very realistically, using models instead of standard convention and idealization.  He made his figures lifelike and relatable, as opposed to portraying unrealistic or phony poses. In this instance, however, the patrons wanted an idealization of the beloved Saint, someone who its viewers could admire and strain to be like. They did not want a bumbling peasant who looked as if he just walked in off the street. With the angel sweeping down and the Saint's stool teetering in movement, it is arguably one of Caravaggio's earliest examples of his dynamic style.  It was a much more exciting composition than his first submission. Even though Caravaggio changed the composition to suit the desires of the patron, you can still see his own style under the more refined subject of Saint Matthew.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Explain the Style of this artwork, Saint Matthew and the Angel.

Caravaggio was known for painting very realistically, using models instead of standard convention and idealization.  He made his figures lifelike and relatable, as opposed to portraying unrealistic or phony poses. In this instance, however, the patrons wanted an idealization of the beloved Saint, someone who its viewers could admire and strain to be like. They did not want a bumbling peasant who looked as if he just walked in off the street. With the angel sweeping down and the Saint's stool teetering in movement, it is arguably one of Caravaggio's earliest examples of his dynamic style.  It was a much more exciting composition than his first submission. Even though Caravaggio changed the composition to suit the desires of the patron, you can still see his own style under the more refined subject of Saint Matthew.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: How does Saint Matthew and the Angel explain its Style?

Caravaggio was known for painting very realistically, using models instead of standard convention and idealization.  He made his figures lifelike and relatable, as opposed to portraying unrealistic or phony poses. In this instance, however, the patrons wanted an idealization of the beloved Saint, someone who its viewers could admire and strain to be like. They did not want a bumbling peasant who looked as if he just walked in off the street. With the angel sweeping down and the Saint's stool teetering in movement, it is arguably one of Caravaggio's earliest examples of his dynamic style.  It was a much more exciting composition than his first submission. Even though Caravaggio changed the composition to suit the desires of the patron, you can still see his own style under the more refined subject of Saint Matthew.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: In Saint Matthew and the Angel, how is the Style discussed?

Caravaggio was known for painting very realistically, using models instead of standard convention and idealization.  He made his figures lifelike and relatable, as opposed to portraying unrealistic or phony poses. In this instance, however, the patrons wanted an idealization of the beloved Saint, someone who its viewers could admire and strain to be like. They did not want a bumbling peasant who looked as if he just walked in off the street. With the angel sweeping down and the Saint's stool teetering in movement, it is arguably one of Caravaggio's earliest examples of his dynamic style.  It was a much more exciting composition than his first submission. Even though Caravaggio changed the composition to suit the desires of the patron, you can still see his own style under the more refined subject of Saint Matthew.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Focus on Saint Matthew and the Angel and explain the History.

Saint Matthew and the Angel was completed in 1602. A part of the collection of the former Kaiser Friedrich Museum, it was moved to a flak tower for safety but was destroyed by fire at the end of World War II while stored in an anti-aircraft bunker in Berlin. This work, by a pillar of the Baroque movement, might have provided new information about the artist and patron. Reproductions of the original still survive.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Explain the History of this artwork, Saint Matthew and the Angel.

Saint Matthew and the Angel was completed in 1602. A part of the collection of the former Kaiser Friedrich Museum, it was moved to a flak tower for safety but was destroyed by fire at the end of World War II while stored in an anti-aircraft bunker in Berlin. This work, by a pillar of the Baroque movement, might have provided new information about the artist and patron. Reproductions of the original still survive.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: How does Saint Matthew and the Angel explain its History?

Saint Matthew and the Angel was completed in 1602. A part of the collection of the former Kaiser Friedrich Museum, it was moved to a flak tower for safety but was destroyed by fire at the end of World War II while stored in an anti-aircraft bunker in Berlin. This work, by a pillar of the Baroque movement, might have provided new information about the artist and patron. Reproductions of the original still survive.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: In Saint Matthew and the Angel, how is the History discussed?

Saint Matthew and the Angel was completed in 1602. A part of the collection of the former Kaiser Friedrich Museum, it was moved to a flak tower for safety but was destroyed by fire at the end of World War II while stored in an anti-aircraft bunker in Berlin. This work, by a pillar of the Baroque movement, might have provided new information about the artist and patron. Reproductions of the original still survive.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Focus on Saint Matthew and the Angel and explain the Commission.

Saint Matthew and the Angel was created  as a commission for the Contarelli Chapel. Caravaggio was previously commissioned to paint two scenes of the saint's life, and after the patrons were satisfied with them, a third was commissioned.The Contarelli Chapel was dedicated to Saint Matthew. With funds left for its building in 1585, it was completed in 1600. Cardinal Del Monte played a major part in orchestrating the decoration of its interior, and was the one who suggested Caravaggio as the painter of the scenes of Saint Matthew's life. The altar was to be composed of two Caravaggio paintings as well as a statue of the saint by Flemish artist Jacob Cobaert.  However, the church was not pleased with the statue and Caravaggio was re-hired to do another piece as the center for the altar, to show Saint Matthew writing the Gospel under the guidance of an angel. Caravaggio depicted the Saint as an unlearned peasant, gaping in the presence of the angel. The church rejected Caravaggio's irreverent presentation of the saint, and Caravaggio replaced it with a more glorifying image, The Inspiration of Saint Matthew, which remains in the Chapel today.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Explain the Commission of this artwork, Saint Matthew and the Angel.

Saint Matthew and the Angel was created  as a commission for the Contarelli Chapel. Caravaggio was previously commissioned to paint two scenes of the saint's life, and after the patrons were satisfied with them, a third was commissioned.The Contarelli Chapel was dedicated to Saint Matthew. With funds left for its building in 1585, it was completed in 1600. Cardinal Del Monte played a major part in orchestrating the decoration of its interior, and was the one who suggested Caravaggio as the painter of the scenes of Saint Matthew's life. The altar was to be composed of two Caravaggio paintings as well as a statue of the saint by Flemish artist Jacob Cobaert.  However, the church was not pleased with the statue and Caravaggio was re-hired to do another piece as the center for the altar, to show Saint Matthew writing the Gospel under the guidance of an angel. Caravaggio depicted the Saint as an unlearned peasant, gaping in the presence of the angel. The church rejected Caravaggio's irreverent presentation of the saint, and Caravaggio replaced it with a more glorifying image, The Inspiration of Saint Matthew, which remains in the Chapel today.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: How does Saint Matthew and the Angel explain its Commission?

Saint Matthew and the Angel was created  as a commission for the Contarelli Chapel. Caravaggio was previously commissioned to paint two scenes of the saint's life, and after the patrons were satisfied with them, a third was commissioned.The Contarelli Chapel was dedicated to Saint Matthew. With funds left for its building in 1585, it was completed in 1600. Cardinal Del Monte played a major part in orchestrating the decoration of its interior, and was the one who suggested Caravaggio as the painter of the scenes of Saint Matthew's life. The altar was to be composed of two Caravaggio paintings as well as a statue of the saint by Flemish artist Jacob Cobaert.  However, the church was not pleased with the statue and Caravaggio was re-hired to do another piece as the center for the altar, to show Saint Matthew writing the Gospel under the guidance of an angel. Caravaggio depicted the Saint as an unlearned peasant, gaping in the presence of the angel. The church rejected Caravaggio's irreverent presentation of the saint, and Caravaggio replaced it with a more glorifying image, The Inspiration of Saint Matthew, which remains in the Chapel today.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: In Saint Matthew and the Angel, how is the Commission discussed?

Saint Matthew and the Angel was created  as a commission for the Contarelli Chapel. Caravaggio was previously commissioned to paint two scenes of the saint's life, and after the patrons were satisfied with them, a third was commissioned.The Contarelli Chapel was dedicated to Saint Matthew. With funds left for its building in 1585, it was completed in 1600. Cardinal Del Monte played a major part in orchestrating the decoration of its interior, and was the one who suggested Caravaggio as the painter of the scenes of Saint Matthew's life. The altar was to be composed of two Caravaggio paintings as well as a statue of the saint by Flemish artist Jacob Cobaert.  However, the church was not pleased with the statue and Caravaggio was re-hired to do another piece as the center for the altar, to show Saint Matthew writing the Gospel under the guidance of an angel. Caravaggio depicted the Saint as an unlearned peasant, gaping in the presence of the angel. The church rejected Caravaggio's irreverent presentation of the saint, and Caravaggio replaced it with a more glorifying image, The Inspiration of Saint Matthew, which remains in the Chapel today.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Focus on Saint Matthew and the Angel and explain the Comparison.

The comparison is not perfect because the only images available of the lost Saint Matthew and the Angel are black and white  photographs that were taken before World War II.  The lost painting showed Saint Matthew as poorly groomed, with dirty feet. Although this was the style of Caravaggio, the church leaders thought it was too crude and did not want to have what looked like a peasant hanging in their sacred altarpiece. In addition, they thought that this Matthew did not match the other two paintings that Caravaggio had already done. It was apparently disconnected and therefore had no place with the others. The second piece keeps true to the same subject, but with a few changes. Matthew looks more like the other two Matthews in the altar. The Saint is now more serious and in control in the presence of the angel. Instead of being fully controlled by the angel, Saint Matthew is only encouraged by the angel in the second one. He is working more on his own accord. Nevertheless, the surviving version loses the touching directness of the first - the childlike angel patiently guiding the Saint's hand on the page as though he were the child.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: Explain the Comparison of this artwork, Saint Matthew and the Angel.

The comparison is not perfect because the only images available of the lost Saint Matthew and the Angel are black and white  photographs that were taken before World War II.  The lost painting showed Saint Matthew as poorly groomed, with dirty feet. Although this was the style of Caravaggio, the church leaders thought it was too crude and did not want to have what looked like a peasant hanging in their sacred altarpiece. In addition, they thought that this Matthew did not match the other two paintings that Caravaggio had already done. It was apparently disconnected and therefore had no place with the others. The second piece keeps true to the same subject, but with a few changes. Matthew looks more like the other two Matthews in the altar. The Saint is now more serious and in control in the presence of the angel. Instead of being fully controlled by the angel, Saint Matthew is only encouraged by the angel in the second one. He is working more on his own accord. Nevertheless, the surviving version loses the touching directness of the first - the childlike angel patiently guiding the Saint's hand on the page as though he were the child.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: How does Saint Matthew and the Angel explain its Comparison?

The comparison is not perfect because the only images available of the lost Saint Matthew and the Angel are black and white  photographs that were taken before World War II.  The lost painting showed Saint Matthew as poorly groomed, with dirty feet. Although this was the style of Caravaggio, the church leaders thought it was too crude and did not want to have what looked like a peasant hanging in their sacred altarpiece. In addition, they thought that this Matthew did not match the other two paintings that Caravaggio had already done. It was apparently disconnected and therefore had no place with the others. The second piece keeps true to the same subject, but with a few changes. Matthew looks more like the other two Matthews in the altar. The Saint is now more serious and in control in the presence of the angel. Instead of being fully controlled by the angel, Saint Matthew is only encouraged by the angel in the second one. He is working more on his own accord. Nevertheless, the surviving version loses the touching directness of the first - the childlike angel patiently guiding the Saint's hand on the page as though he were the child.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Saint Matthew and the Angel

Prompt: In Saint Matthew and the Angel, how is the Comparison discussed?

The comparison is not perfect because the only images available of the lost Saint Matthew and the Angel are black and white  photographs that were taken before World War II.  The lost painting showed Saint Matthew as poorly groomed, with dirty feet. Although this was the style of Caravaggio, the church leaders thought it was too crude and did not want to have what looked like a peasant hanging in their sacred altarpiece. In addition, they thought that this Matthew did not match the other two paintings that Caravaggio had already done. It was apparently disconnected and therefore had no place with the others. The second piece keeps true to the same subject, but with a few changes. Matthew looks more like the other two Matthews in the altar. The Saint is now more serious and in control in the presence of the angel. Instead of being fully controlled by the angel, Saint Matthew is only encouraged by the angel in the second one. He is working more on his own accord. Nevertheless, the surviving version loses the touching directness of the first - the childlike angel patiently guiding the Saint's hand on the page as though he were the child.

Category:Religious controversies in painting

File:Caravaggio saint matthew DLI 06163009908.jpg

Category:Paintings of Matthew the Apostle

Original photo of “[https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991731733804896 Saint Matthew and the Angel],” destroyed 1945 in [https://www.nga.gov/research/library/imagecollections/features/kaiser-friedrich.html Flakturm Friedrichshain fire], [https://www.nga.gov/research/library/imagecollections.html Department of Image Collections, National Gallery of Art Library, Washington, DC


Prompt: Focus on Apparition of Face and Fruit Dish on a Beach and explain the abstract.

Apparition of Face and Fruit Dish on a Beach is an oil painting by the Spanish surrealist artist Salvador Dalí, from 1938. It is part of the Ella Gallup Sumner and Mary Catlin Sumner Collection of the Wadsworth Atheneum Museum of Art, in Hartford, Connecticut.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Category:Paintings of dogs
Wadsworth Atheneum
ambiguous image
Hartford
Oil painting
Category:Surrealist paintings
Connecticut
Category:1938 paintings
Dalí
Salvador Dalí
Oil on canvas
Hartford, Connecticut
optical illusion


Prompt: Explain the abstract of this artwork, Apparition of Face and Fruit Dish on a Beach.

Apparition of Face and Fruit Dish on a Beach is an oil painting by the Spanish surrealist artist Salvador Dalí, from 1938. It is part of the Ella Gallup Sumner and Mary Catlin Sumner Collection of the Wadsworth Atheneum Museum of Art, in Hartford, Connecticut.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Category:Paintings of dogs
Wadsworth Atheneum
ambiguous image
Hartford
Oil painting
Category:Surrealist paintings
Connecticut
Category:1938 paintings
Dalí
Salvador Dalí
Oil on canvas
Hartford, Connecticut
optical illusion


Prompt: How does Apparition of Face and Fruit Dish on a Beach explain its abstract?

Apparition of Face and Fruit Dish on a Beach is an oil painting by the Spanish surrealist artist Salvador Dalí, from 1938. It is part of the Ella Gallup Sumner and Mary Catlin Sumner Collection of the Wadsworth Atheneum Museum of Art, in Hartford, Connecticut.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Category:Paintings of dogs
Wadsworth Atheneum
ambiguous image
Hartford
Oil painting
Category:Surrealist paintings
Connecticut
Category:1938 paintings
Dalí
Salvador Dalí
Oil on canvas
Hartford, Connecticut
optical illusion


Prompt: In Apparition of Face and Fruit Dish on a Beach, how is the abstract discussed?

Apparition of Face and Fruit Dish on a Beach is an oil painting by the Spanish surrealist artist Salvador Dalí, from 1938. It is part of the Ella Gallup Sumner and Mary Catlin Sumner Collection of the Wadsworth Atheneum Museum of Art, in Hartford, Connecticut.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Category:Paintings of dogs
Wadsworth Atheneum
ambiguous image
Hartford
Oil painting
Category:Surrealist paintings
Connecticut
Category:1938 paintings
Dalí
Salvador Dalí
Oil on canvas
Hartford, Connecticut
optical illusion


Prompt: Focus on Apparition of Face and Fruit Dish on a Beach and explain the Description.

This work belongs to a group of paintings by Dalí that instantiate an optical illusion called the double, multiple, or ambiguous image.The painting is dominated by a depiction of a stemmed silver fruit bowl containing pears. A deliberately created optical illusion of the human face occupies the same space as the dish; the fruits suggest wavy hair, the dish's bowl becomes the forehead, the stem of the dish serves as the bridge of the nose, and the dish's foot doubles as the chin. The eyes of the large face, however, are formed by background objects lying on the sand at the edge of the strand — deeper in the image — rather than sharing form with the fruit dish. The face's right eye is what appears to be a clay vase lying on its side, and the face's left eye a sprawling child. A similar face reappears other paintings by Dalí, including The Endless Enigma.In the middle ground of the scene, where the sand of the beach appears to end, a small version of the fruit dish/face can be seen on the ground with a few pears scattered near it. Another face appears further back, just to the right of the elbow of the nude male figure. In the same area of the painting, two dogs are playing along a path in the distance. One of those dogs is itself an echo of the immense, illusionary figure of a dog which stretches from the left to the right margin of the painting, with the dog's collar formed by a multi-arched bridge or aqueduct in the landscape beyond. This repetition of shapes is a frequent motif in Dalí's surrealist works.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Category:Paintings of dogs
Wadsworth Atheneum
ambiguous image
Hartford
Oil painting
Category:Surrealist paintings
Connecticut
Category:1938 paintings
Dalí
Salvador Dalí
Oil on canvas
Hartford, Connecticut
optical illusion


Prompt: Explain the Description of this artwork, Apparition of Face and Fruit Dish on a Beach.

This work belongs to a group of paintings by Dalí that instantiate an optical illusion called the double, multiple, or ambiguous image.The painting is dominated by a depiction of a stemmed silver fruit bowl containing pears. A deliberately created optical illusion of the human face occupies the same space as the dish; the fruits suggest wavy hair, the dish's bowl becomes the forehead, the stem of the dish serves as the bridge of the nose, and the dish's foot doubles as the chin. The eyes of the large face, however, are formed by background objects lying on the sand at the edge of the strand — deeper in the image — rather than sharing form with the fruit dish. The face's right eye is what appears to be a clay vase lying on its side, and the face's left eye a sprawling child. A similar face reappears other paintings by Dalí, including The Endless Enigma.In the middle ground of the scene, where the sand of the beach appears to end, a small version of the fruit dish/face can be seen on the ground with a few pears scattered near it. Another face appears further back, just to the right of the elbow of the nude male figure. In the same area of the painting, two dogs are playing along a path in the distance. One of those dogs is itself an echo of the immense, illusionary figure of a dog which stretches from the left to the right margin of the painting, with the dog's collar formed by a multi-arched bridge or aqueduct in the landscape beyond. This repetition of shapes is a frequent motif in Dalí's surrealist works.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Category:Paintings of dogs
Wadsworth Atheneum
ambiguous image
Hartford
Oil painting
Category:Surrealist paintings
Connecticut
Category:1938 paintings
Dalí
Salvador Dalí
Oil on canvas
Hartford, Connecticut
optical illusion


Prompt: How does Apparition of Face and Fruit Dish on a Beach explain its Description?

This work belongs to a group of paintings by Dalí that instantiate an optical illusion called the double, multiple, or ambiguous image.The painting is dominated by a depiction of a stemmed silver fruit bowl containing pears. A deliberately created optical illusion of the human face occupies the same space as the dish; the fruits suggest wavy hair, the dish's bowl becomes the forehead, the stem of the dish serves as the bridge of the nose, and the dish's foot doubles as the chin. The eyes of the large face, however, are formed by background objects lying on the sand at the edge of the strand — deeper in the image — rather than sharing form with the fruit dish. The face's right eye is what appears to be a clay vase lying on its side, and the face's left eye a sprawling child. A similar face reappears other paintings by Dalí, including The Endless Enigma.In the middle ground of the scene, where the sand of the beach appears to end, a small version of the fruit dish/face can be seen on the ground with a few pears scattered near it. Another face appears further back, just to the right of the elbow of the nude male figure. In the same area of the painting, two dogs are playing along a path in the distance. One of those dogs is itself an echo of the immense, illusionary figure of a dog which stretches from the left to the right margin of the painting, with the dog's collar formed by a multi-arched bridge or aqueduct in the landscape beyond. This repetition of shapes is a frequent motif in Dalí's surrealist works.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Category:Paintings of dogs
Wadsworth Atheneum
ambiguous image
Hartford
Oil painting
Category:Surrealist paintings
Connecticut
Category:1938 paintings
Dalí
Salvador Dalí
Oil on canvas
Hartford, Connecticut
optical illusion


Prompt: In Apparition of Face and Fruit Dish on a Beach, how is the Description discussed?

This work belongs to a group of paintings by Dalí that instantiate an optical illusion called the double, multiple, or ambiguous image.The painting is dominated by a depiction of a stemmed silver fruit bowl containing pears. A deliberately created optical illusion of the human face occupies the same space as the dish; the fruits suggest wavy hair, the dish's bowl becomes the forehead, the stem of the dish serves as the bridge of the nose, and the dish's foot doubles as the chin. The eyes of the large face, however, are formed by background objects lying on the sand at the edge of the strand — deeper in the image — rather than sharing form with the fruit dish. The face's right eye is what appears to be a clay vase lying on its side, and the face's left eye a sprawling child. A similar face reappears other paintings by Dalí, including The Endless Enigma.In the middle ground of the scene, where the sand of the beach appears to end, a small version of the fruit dish/face can be seen on the ground with a few pears scattered near it. Another face appears further back, just to the right of the elbow of the nude male figure. In the same area of the painting, two dogs are playing along a path in the distance. One of those dogs is itself an echo of the immense, illusionary figure of a dog which stretches from the left to the right margin of the painting, with the dog's collar formed by a multi-arched bridge or aqueduct in the landscape beyond. This repetition of shapes is a frequent motif in Dalí's surrealist works.

Category:Paintings by Salvador Dalí
List of works by Salvador Dalí
Category:Paintings of dogs
Wadsworth Atheneum
ambiguous image
Hartford
Oil painting
Category:Surrealist paintings
Connecticut
Category:1938 paintings
Dalí
Salvador Dalí
Oil on canvas
Hartford, Connecticut
optical illusion