Girl in White

Prompt: Explain the Auvers-sur-Oise of this artwork, Girl in White.

In May 1890, Van Gogh traveled from Saint-Rémy to Paris where he had a three-day stay with his brother, Theo, Theo's wife Johanna and their new baby Vincent.  Van Gogh found that unlike his past experiences in Paris, he was no longer used to the commotion of the city and was too agitated to paint.  His brother, Theo and artist Camille Pissarro developed a plan for Van Gogh to go to Auvers-sur-Oise with a letter of introduction for Dr. Paul Gachet, a homeopathic physician and art patron who lived in Auvers. Van Gogh had a room at the inn Auberge Ravoux in Auvers and was under the care and supervision of Dr. Gachet with whom he grew to have a close relationship, "something like another brother."  Gachet and his daughter were both subjects for Van Gogh's paintings.For a time, Van Gogh seemed to improve.  He began to paint at such a steady pace, there was barely space in his room for all the finished paintings. From May until his death on July 29, Van Gogh made about 70 paintings, more than one a day, and many drawings.  Van Gogh painted buildings around the town of Auvers, such as The Church at Auvers, portraits, and the nearby fields."But for all his appearance of a renewed well-being," observes Wallace, "his life was very near its end." Illness struck Theo's baby, Vincent. Theo had both health and employment issues; he considered leaving his employer and starting his own business.  Gachet, said to have his own eccentricities and neurosis, caused Van Gogh sufficient concern to question, "Now when one blind man leads another blind man, don't they both end up in the ditch?"After visiting Paris for a family conference, Van Gogh returned to Auvers more bleak.  In a letter he wrote, "And the prospect grows darker, I see no future at all."

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: How does Girl in White explain its Auvers-sur-Oise?

In May 1890, Van Gogh traveled from Saint-Rémy to Paris where he had a three-day stay with his brother, Theo, Theo's wife Johanna and their new baby Vincent.  Van Gogh found that unlike his past experiences in Paris, he was no longer used to the commotion of the city and was too agitated to paint.  His brother, Theo and artist Camille Pissarro developed a plan for Van Gogh to go to Auvers-sur-Oise with a letter of introduction for Dr. Paul Gachet, a homeopathic physician and art patron who lived in Auvers. Van Gogh had a room at the inn Auberge Ravoux in Auvers and was under the care and supervision of Dr. Gachet with whom he grew to have a close relationship, "something like another brother."  Gachet and his daughter were both subjects for Van Gogh's paintings.For a time, Van Gogh seemed to improve.  He began to paint at such a steady pace, there was barely space in his room for all the finished paintings. From May until his death on July 29, Van Gogh made about 70 paintings, more than one a day, and many drawings.  Van Gogh painted buildings around the town of Auvers, such as The Church at Auvers, portraits, and the nearby fields."But for all his appearance of a renewed well-being," observes Wallace, "his life was very near its end." Illness struck Theo's baby, Vincent. Theo had both health and employment issues; he considered leaving his employer and starting his own business.  Gachet, said to have his own eccentricities and neurosis, caused Van Gogh sufficient concern to question, "Now when one blind man leads another blind man, don't they both end up in the ditch?"After visiting Paris for a family conference, Van Gogh returned to Auvers more bleak.  In a letter he wrote, "And the prospect grows darker, I see no future at all."

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: In Girl in White, how is the Auvers-sur-Oise discussed?

In May 1890, Van Gogh traveled from Saint-Rémy to Paris where he had a three-day stay with his brother, Theo, Theo's wife Johanna and their new baby Vincent.  Van Gogh found that unlike his past experiences in Paris, he was no longer used to the commotion of the city and was too agitated to paint.  His brother, Theo and artist Camille Pissarro developed a plan for Van Gogh to go to Auvers-sur-Oise with a letter of introduction for Dr. Paul Gachet, a homeopathic physician and art patron who lived in Auvers. Van Gogh had a room at the inn Auberge Ravoux in Auvers and was under the care and supervision of Dr. Gachet with whom he grew to have a close relationship, "something like another brother."  Gachet and his daughter were both subjects for Van Gogh's paintings.For a time, Van Gogh seemed to improve.  He began to paint at such a steady pace, there was barely space in his room for all the finished paintings. From May until his death on July 29, Van Gogh made about 70 paintings, more than one a day, and many drawings.  Van Gogh painted buildings around the town of Auvers, such as The Church at Auvers, portraits, and the nearby fields."But for all his appearance of a renewed well-being," observes Wallace, "his life was very near its end." Illness struck Theo's baby, Vincent. Theo had both health and employment issues; he considered leaving his employer and starting his own business.  Gachet, said to have his own eccentricities and neurosis, caused Van Gogh sufficient concern to question, "Now when one blind man leads another blind man, don't they both end up in the ditch?"After visiting Paris for a family conference, Van Gogh returned to Auvers more bleak.  In a letter he wrote, "And the prospect grows darker, I see no future at all."

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: Focus on Girl in White and explain the The painting.

Of the paintings Van Gogh completed in Auvers, there were two of the same woman.  He describes her as "a peasant woman, big yellow hat with a knot of sky-blue ribbons."  The second painting may be Young Peasant Woman with Straw Hat Sitting in the Wheat.Van Gogh uses the "picture plane" for dramatic effect. "How painters use the 'picture plane' is a telling measure," Harrison explains, "of the usually intended effects of their work and their disposition toward the spectator." Having the woman fill most of the pictorial space, she appears closer to the audience.  Van Gogh further shadowed her face and gave her a "distant, unfocused" gaze.  By also having the woman in close proximity, her emotional distance is "poignant".

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: Explain the The painting of this artwork, Girl in White.

Of the paintings Van Gogh completed in Auvers, there were two of the same woman.  He describes her as "a peasant woman, big yellow hat with a knot of sky-blue ribbons."  The second painting may be Young Peasant Woman with Straw Hat Sitting in the Wheat.Van Gogh uses the "picture plane" for dramatic effect. "How painters use the 'picture plane' is a telling measure," Harrison explains, "of the usually intended effects of their work and their disposition toward the spectator." Having the woman fill most of the pictorial space, she appears closer to the audience.  Van Gogh further shadowed her face and gave her a "distant, unfocused" gaze.  By also having the woman in close proximity, her emotional distance is "poignant".

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: How does Girl in White explain its The painting?

Of the paintings Van Gogh completed in Auvers, there were two of the same woman.  He describes her as "a peasant woman, big yellow hat with a knot of sky-blue ribbons."  The second painting may be Young Peasant Woman with Straw Hat Sitting in the Wheat.Van Gogh uses the "picture plane" for dramatic effect. "How painters use the 'picture plane' is a telling measure," Harrison explains, "of the usually intended effects of their work and their disposition toward the spectator." Having the woman fill most of the pictorial space, she appears closer to the audience.  Van Gogh further shadowed her face and gave her a "distant, unfocused" gaze.  By also having the woman in close proximity, her emotional distance is "poignant".

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: In Girl in White, how is the The painting discussed?

Of the paintings Van Gogh completed in Auvers, there were two of the same woman.  He describes her as "a peasant woman, big yellow hat with a knot of sky-blue ribbons."  The second painting may be Young Peasant Woman with Straw Hat Sitting in the Wheat.Van Gogh uses the "picture plane" for dramatic effect. "How painters use the 'picture plane' is a telling measure," Harrison explains, "of the usually intended effects of their work and their disposition toward the spectator." Having the woman fill most of the pictorial space, she appears closer to the audience.  Van Gogh further shadowed her face and gave her a "distant, unfocused" gaze.  By also having the woman in close proximity, her emotional distance is "poignant".

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: Focus on Girl in White and explain the Comparison to literal likeness.

In Primitivism, Cubism, Abstraction: The Early Twentieth Century, the authors compare Van Gogh's Girl in White to the portrait of a woman in John Byam Shaw's 1900 Boer War.  They make the comparison by identifying desired characteristics of modernistic art, such as works "emphasizing formal aspects, and as embodying what they took to be a 'primitive' or 'direct' vision such as Vincent van Gogh's Girl in White.  To modernists, this is desirable over the "exhibited skill and sophistication of literal likeness," such as John Byam Shaw's 1900 Boer War. The more primitive and direct works, they say, provide a richer feeling, whereas the literal interpretation represents a lack of "emotional content".

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: Explain the Comparison to literal likeness of this artwork, Girl in White.

In Primitivism, Cubism, Abstraction: The Early Twentieth Century, the authors compare Van Gogh's Girl in White to the portrait of a woman in John Byam Shaw's 1900 Boer War.  They make the comparison by identifying desired characteristics of modernistic art, such as works "emphasizing formal aspects, and as embodying what they took to be a 'primitive' or 'direct' vision such as Vincent van Gogh's Girl in White.  To modernists, this is desirable over the "exhibited skill and sophistication of literal likeness," such as John Byam Shaw's 1900 Boer War. The more primitive and direct works, they say, provide a richer feeling, whereas the literal interpretation represents a lack of "emotional content".

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: How does Girl in White explain its Comparison to literal likeness?

In Primitivism, Cubism, Abstraction: The Early Twentieth Century, the authors compare Van Gogh's Girl in White to the portrait of a woman in John Byam Shaw's 1900 Boer War.  They make the comparison by identifying desired characteristics of modernistic art, such as works "emphasizing formal aspects, and as embodying what they took to be a 'primitive' or 'direct' vision such as Vincent van Gogh's Girl in White.  To modernists, this is desirable over the "exhibited skill and sophistication of literal likeness," such as John Byam Shaw's 1900 Boer War. The more primitive and direct works, they say, provide a richer feeling, whereas the literal interpretation represents a lack of "emotional content".

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: In Girl in White, how is the Comparison to literal likeness discussed?

In Primitivism, Cubism, Abstraction: The Early Twentieth Century, the authors compare Van Gogh's Girl in White to the portrait of a woman in John Byam Shaw's 1900 Boer War.  They make the comparison by identifying desired characteristics of modernistic art, such as works "emphasizing formal aspects, and as embodying what they took to be a 'primitive' or 'direct' vision such as Vincent van Gogh's Girl in White.  To modernists, this is desirable over the "exhibited skill and sophistication of literal likeness," such as John Byam Shaw's 1900 Boer War. The more primitive and direct works, they say, provide a richer feeling, whereas the literal interpretation represents a lack of "emotional content".

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: Focus on Girl in White and explain the Provenance.

Johanna van Gogh-Bonger (1862-1925), the artist's sister-in-law, of Amsterdam sold the painting in August 1908 to J.H. de Bois. Five of the paintings that were sold by Johanna became part of the National Gallery of Art collection.J.H. de Bois, an art dealer and director of The Hague branch of the C.M. Van Gogh gallery had the painting for a portion of 1908.  C.M. van Gogh was Vincent's uncle.Richard Kisling (1862-1913) of Zürich, an avid collector with 4000 paintings, purchased the painting in 1908 from J.H. de Bois.Hedwig Glatt-Kisling of Zürich had the painting from 1908 to 1929.Max Bollag, a gallery owner, of Zürich then had the painting.  He sold it in 1951 to Chester Dale.Chester Dale (1882-1962) of New York owned the painting from 1951 to 1963.In 1963 the painting was bequeathed to the National Gallery of Art and placed in the Chester Dale Collection. Chester Dale, as passionate and successful in his art collection as he was on Wall Street, bequeathed in 1962 to the National Gallery of Art some of the most important French painting from the late 19th and early 20th centuries in America.

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: Explain the Provenance of this artwork, Girl in White.

Johanna van Gogh-Bonger (1862-1925), the artist's sister-in-law, of Amsterdam sold the painting in August 1908 to J.H. de Bois. Five of the paintings that were sold by Johanna became part of the National Gallery of Art collection.J.H. de Bois, an art dealer and director of The Hague branch of the C.M. Van Gogh gallery had the painting for a portion of 1908.  C.M. van Gogh was Vincent's uncle.Richard Kisling (1862-1913) of Zürich, an avid collector with 4000 paintings, purchased the painting in 1908 from J.H. de Bois.Hedwig Glatt-Kisling of Zürich had the painting from 1908 to 1929.Max Bollag, a gallery owner, of Zürich then had the painting.  He sold it in 1951 to Chester Dale.Chester Dale (1882-1962) of New York owned the painting from 1951 to 1963.In 1963 the painting was bequeathed to the National Gallery of Art and placed in the Chester Dale Collection. Chester Dale, as passionate and successful in his art collection as he was on Wall Street, bequeathed in 1962 to the National Gallery of Art some of the most important French painting from the late 19th and early 20th centuries in America.

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: How does Girl in White explain its Provenance?

Johanna van Gogh-Bonger (1862-1925), the artist's sister-in-law, of Amsterdam sold the painting in August 1908 to J.H. de Bois. Five of the paintings that were sold by Johanna became part of the National Gallery of Art collection.J.H. de Bois, an art dealer and director of The Hague branch of the C.M. Van Gogh gallery had the painting for a portion of 1908.  C.M. van Gogh was Vincent's uncle.Richard Kisling (1862-1913) of Zürich, an avid collector with 4000 paintings, purchased the painting in 1908 from J.H. de Bois.Hedwig Glatt-Kisling of Zürich had the painting from 1908 to 1929.Max Bollag, a gallery owner, of Zürich then had the painting.  He sold it in 1951 to Chester Dale.Chester Dale (1882-1962) of New York owned the painting from 1951 to 1963.In 1963 the painting was bequeathed to the National Gallery of Art and placed in the Chester Dale Collection. Chester Dale, as passionate and successful in his art collection as he was on Wall Street, bequeathed in 1962 to the National Gallery of Art some of the most important French painting from the late 19th and early 20th centuries in America.

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Girl in White

Prompt: In Girl in White, how is the Provenance discussed?

Johanna van Gogh-Bonger (1862-1925), the artist's sister-in-law, of Amsterdam sold the painting in August 1908 to J.H. de Bois. Five of the paintings that were sold by Johanna became part of the National Gallery of Art collection.J.H. de Bois, an art dealer and director of The Hague branch of the C.M. Van Gogh gallery had the painting for a portion of 1908.  C.M. van Gogh was Vincent's uncle.Richard Kisling (1862-1913) of Zürich, an avid collector with 4000 paintings, purchased the painting in 1908 from J.H. de Bois.Hedwig Glatt-Kisling of Zürich had the painting from 1908 to 1929.Max Bollag, a gallery owner, of Zürich then had the painting.  He sold it in 1951 to Chester Dale.Chester Dale (1882-1962) of New York owned the painting from 1951 to 1963.In 1963 the painting was bequeathed to the National Gallery of Art and placed in the Chester Dale Collection. Chester Dale, as passionate and successful in his art collection as he was on Wall Street, bequeathed in 1962 to the National Gallery of Art some of the most important French painting from the late 19th and early 20th centuries in America.

Category:Paintings in the National Gallery of Art

File:Van Gogh - Junge Bäuerin mit Strohhut, vor einem Weizenfeld sitzend.jpeg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh


Prompt: Focus on Susanna and the Elders (Artemisia Gentileschi, Pommersfelden) and explain the abstract.

Susanna and the Elders is a 1610 painting by the Italian Baroque artist Artemisia Gentileschi and is her earliest-known signed and dated work. It was one of Gentileschi's signature works. She painted several variations of the scene in her career. It hangs at Schloss Weißenstein in Pommersfelden, Germany. The work shows a frightened Susanna with two men lurking above her while she is in the bath. The subject matter comes from the deuterocanonical Book of Susanna in the Additions to Daniel. This was a popular scene to paint during the Baroque period.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the abstract of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

Susanna and the Elders is a 1610 painting by the Italian Baroque artist Artemisia Gentileschi and is her earliest-known signed and dated work. It was one of Gentileschi's signature works. She painted several variations of the scene in her career. It hangs at Schloss Weißenstein in Pommersfelden, Germany. The work shows a frightened Susanna with two men lurking above her while she is in the bath. The subject matter comes from the deuterocanonical Book of Susanna in the Additions to Daniel. This was a popular scene to paint during the Baroque period.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: How does Susanna and the Elders (Artemisia Gentileschi, Pommersfelden) explain its abstract?

Susanna and the Elders is a 1610 painting by the Italian Baroque artist Artemisia Gentileschi and is her earliest-known signed and dated work. It was one of Gentileschi's signature works. She painted several variations of the scene in her career. It hangs at Schloss Weißenstein in Pommersfelden, Germany. The work shows a frightened Susanna with two men lurking above her while she is in the bath. The subject matter comes from the deuterocanonical Book of Susanna in the Additions to Daniel. This was a popular scene to paint during the Baroque period.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the abstract discussed?

Susanna and the Elders is a 1610 painting by the Italian Baroque artist Artemisia Gentileschi and is her earliest-known signed and dated work. It was one of Gentileschi's signature works. She painted several variations of the scene in her career. It hangs at Schloss Weißenstein in Pommersfelden, Germany. The work shows a frightened Susanna with two men lurking above her while she is in the bath. The subject matter comes from the deuterocanonical Book of Susanna in the Additions to Daniel. This was a popular scene to paint during the Baroque period.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In the context of Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), explain the Subject matter and the Description.

The painting is a representation of a biblical narrative featured in chapter 13 of the Book of Daniel according to the text as maintained by the Catholic and Eastern Orthodox churches, although not generally by Protestants.Two elderly men are shown spying on a young married woman named Susanna. Susanna had gone out to the garden one day to bathe. The elders were hiding in the garden. They demanded sexual favors from her, which she refused. The men threatened to ruin her reputation, but Susanna held fast. The two elders then falsely accused Susanna of adultery – a crime that was punishable by death. When Daniel, a wise young Hebrew man, questioned them separately, details in the two elders' stories did not match. Their conflicting stories revealed the falsehood of their testimony, thus clearing Susanna's name.The subject was relatively common in European art from the 16th century, with Susanna exemplifying the virtues of modesty and fidelity. In practice however, it allowed artists the opportunity to display their skill in the depiction of the female nude, often for the pleasure of their male patrons.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the Subject matter about the Description of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

The painting is a representation of a biblical narrative featured in chapter 13 of the Book of Daniel according to the text as maintained by the Catholic and Eastern Orthodox churches, although not generally by Protestants.Two elderly men are shown spying on a young married woman named Susanna. Susanna had gone out to the garden one day to bathe. The elders were hiding in the garden. They demanded sexual favors from her, which she refused. The men threatened to ruin her reputation, but Susanna held fast. The two elders then falsely accused Susanna of adultery – a crime that was punishable by death. When Daniel, a wise young Hebrew man, questioned them separately, details in the two elders' stories did not match. Their conflicting stories revealed the falsehood of their testimony, thus clearing Susanna's name.The subject was relatively common in European art from the 16th century, with Susanna exemplifying the virtues of modesty and fidelity. In practice however, it allowed artists the opportunity to display their skill in the depiction of the female nude, often for the pleasure of their male patrons.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the Subject matter of the Description explained?

The painting is a representation of a biblical narrative featured in chapter 13 of the Book of Daniel according to the text as maintained by the Catholic and Eastern Orthodox churches, although not generally by Protestants.Two elderly men are shown spying on a young married woman named Susanna. Susanna had gone out to the garden one day to bathe. The elders were hiding in the garden. They demanded sexual favors from her, which she refused. The men threatened to ruin her reputation, but Susanna held fast. The two elders then falsely accused Susanna of adultery – a crime that was punishable by death. When Daniel, a wise young Hebrew man, questioned them separately, details in the two elders' stories did not match. Their conflicting stories revealed the falsehood of their testimony, thus clearing Susanna's name.The subject was relatively common in European art from the 16th century, with Susanna exemplifying the virtues of modesty and fidelity. In practice however, it allowed artists the opportunity to display their skill in the depiction of the female nude, often for the pleasure of their male patrons.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Describe the characteristics of the Subject matter in Susanna and the Elders (Artemisia Gentileschi, Pommersfelden)'s Description.

The painting is a representation of a biblical narrative featured in chapter 13 of the Book of Daniel according to the text as maintained by the Catholic and Eastern Orthodox churches, although not generally by Protestants.Two elderly men are shown spying on a young married woman named Susanna. Susanna had gone out to the garden one day to bathe. The elders were hiding in the garden. They demanded sexual favors from her, which she refused. The men threatened to ruin her reputation, but Susanna held fast. The two elders then falsely accused Susanna of adultery – a crime that was punishable by death. When Daniel, a wise young Hebrew man, questioned them separately, details in the two elders' stories did not match. Their conflicting stories revealed the falsehood of their testimony, thus clearing Susanna's name.The subject was relatively common in European art from the 16th century, with Susanna exemplifying the virtues of modesty and fidelity. In practice however, it allowed artists the opportunity to display their skill in the depiction of the female nude, often for the pleasure of their male patrons.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In the context of Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), explain the Interpretations of Gentileschi's work and the Description.

Gentileschi's painting has been compared to that of other artists who used the same subject, but were male.  Gentileschi's Susanna sits uncomfortably, a twist to her body showing her distress, unlike many depictions that fail to reveal any discomfort. A common comparison is made with Annibale Carracci’s version of Susanna and the Elders. Gentileschi's Susanna is both uncomfortable and more feminine than Carracci's Susanna, whose body appears more anatomically masculine yet is portrayed in a more eroticized position, as if receptive to the two elders' attention. Rather than depicting the typical body type of previous paintings of Susanna, Gentileschi chose a more Classical style for Susanna's body, which elevates her nudity in a more heroic sense. The setting of this scene in a stone enclosure further represents a departure from the typical garden setting used in previous depictions by other artists. Gentileschi's vertical composition also spreads the two elders at the top as a dark element hovering over the scene, creating a feeling of malevolent pressure imposed upon Susanna. Gentileschi painted this scene at least twice more during her lifetime. As this version is the earliest, it has been presumed by Roberto Contini, Germaine Greer, Susanna Stolzenwald, and Mary D. Garrard that she painted with her father's guidance. Art historians Roberto Longhi and Andrea Emiliani questioned how Gentileschi could paint a convincing female nude at such a young age. They speculated whether she had studied female anatomy or used a model of her father's, as his work studio was in the family home. However, no other artist had explored the psychological dimension of this Biblical story before, suggesting that Gentileschi's father, a traditionally trained artist, would have had no hand in influencing the concept of the young artist's painting. Artemisia's naturalistic rendering of the female form stands in contrast to her father's style, however the adjustments revealed by x-rays may suggest that Orazio's guidance was focused on compositional arrangement rather than depiction.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the Interpretations of Gentileschi's work about the Description of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

Gentileschi's painting has been compared to that of other artists who used the same subject, but were male.  Gentileschi's Susanna sits uncomfortably, a twist to her body showing her distress, unlike many depictions that fail to reveal any discomfort. A common comparison is made with Annibale Carracci’s version of Susanna and the Elders. Gentileschi's Susanna is both uncomfortable and more feminine than Carracci's Susanna, whose body appears more anatomically masculine yet is portrayed in a more eroticized position, as if receptive to the two elders' attention. Rather than depicting the typical body type of previous paintings of Susanna, Gentileschi chose a more Classical style for Susanna's body, which elevates her nudity in a more heroic sense. The setting of this scene in a stone enclosure further represents a departure from the typical garden setting used in previous depictions by other artists. Gentileschi's vertical composition also spreads the two elders at the top as a dark element hovering over the scene, creating a feeling of malevolent pressure imposed upon Susanna. Gentileschi painted this scene at least twice more during her lifetime. As this version is the earliest, it has been presumed by Roberto Contini, Germaine Greer, Susanna Stolzenwald, and Mary D. Garrard that she painted with her father's guidance. Art historians Roberto Longhi and Andrea Emiliani questioned how Gentileschi could paint a convincing female nude at such a young age. They speculated whether she had studied female anatomy or used a model of her father's, as his work studio was in the family home. However, no other artist had explored the psychological dimension of this Biblical story before, suggesting that Gentileschi's father, a traditionally trained artist, would have had no hand in influencing the concept of the young artist's painting. Artemisia's naturalistic rendering of the female form stands in contrast to her father's style, however the adjustments revealed by x-rays may suggest that Orazio's guidance was focused on compositional arrangement rather than depiction.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the Interpretations of Gentileschi's work of the Description explained?

Gentileschi's painting has been compared to that of other artists who used the same subject, but were male.  Gentileschi's Susanna sits uncomfortably, a twist to her body showing her distress, unlike many depictions that fail to reveal any discomfort. A common comparison is made with Annibale Carracci’s version of Susanna and the Elders. Gentileschi's Susanna is both uncomfortable and more feminine than Carracci's Susanna, whose body appears more anatomically masculine yet is portrayed in a more eroticized position, as if receptive to the two elders' attention. Rather than depicting the typical body type of previous paintings of Susanna, Gentileschi chose a more Classical style for Susanna's body, which elevates her nudity in a more heroic sense. The setting of this scene in a stone enclosure further represents a departure from the typical garden setting used in previous depictions by other artists. Gentileschi's vertical composition also spreads the two elders at the top as a dark element hovering over the scene, creating a feeling of malevolent pressure imposed upon Susanna. Gentileschi painted this scene at least twice more during her lifetime. As this version is the earliest, it has been presumed by Roberto Contini, Germaine Greer, Susanna Stolzenwald, and Mary D. Garrard that she painted with her father's guidance. Art historians Roberto Longhi and Andrea Emiliani questioned how Gentileschi could paint a convincing female nude at such a young age. They speculated whether she had studied female anatomy or used a model of her father's, as his work studio was in the family home. However, no other artist had explored the psychological dimension of this Biblical story before, suggesting that Gentileschi's father, a traditionally trained artist, would have had no hand in influencing the concept of the young artist's painting. Artemisia's naturalistic rendering of the female form stands in contrast to her father's style, however the adjustments revealed by x-rays may suggest that Orazio's guidance was focused on compositional arrangement rather than depiction.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Describe the characteristics of the Interpretations of Gentileschi's work in Susanna and the Elders (Artemisia Gentileschi, Pommersfelden)'s Description.

Gentileschi's painting has been compared to that of other artists who used the same subject, but were male.  Gentileschi's Susanna sits uncomfortably, a twist to her body showing her distress, unlike many depictions that fail to reveal any discomfort. A common comparison is made with Annibale Carracci’s version of Susanna and the Elders. Gentileschi's Susanna is both uncomfortable and more feminine than Carracci's Susanna, whose body appears more anatomically masculine yet is portrayed in a more eroticized position, as if receptive to the two elders' attention. Rather than depicting the typical body type of previous paintings of Susanna, Gentileschi chose a more Classical style for Susanna's body, which elevates her nudity in a more heroic sense. The setting of this scene in a stone enclosure further represents a departure from the typical garden setting used in previous depictions by other artists. Gentileschi's vertical composition also spreads the two elders at the top as a dark element hovering over the scene, creating a feeling of malevolent pressure imposed upon Susanna. Gentileschi painted this scene at least twice more during her lifetime. As this version is the earliest, it has been presumed by Roberto Contini, Germaine Greer, Susanna Stolzenwald, and Mary D. Garrard that she painted with her father's guidance. Art historians Roberto Longhi and Andrea Emiliani questioned how Gentileschi could paint a convincing female nude at such a young age. They speculated whether she had studied female anatomy or used a model of her father's, as his work studio was in the family home. However, no other artist had explored the psychological dimension of this Biblical story before, suggesting that Gentileschi's father, a traditionally trained artist, would have had no hand in influencing the concept of the young artist's painting. Artemisia's naturalistic rendering of the female form stands in contrast to her father's style, however the adjustments revealed by x-rays may suggest that Orazio's guidance was focused on compositional arrangement rather than depiction.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In the context of Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), explain the Signature and the Description.

Gentileschi's signature is shown on the stone step on the lower left of the image. She only signed 19 of her paintings in total. The spelling and format of signature varied because at that time, spelling was not standardized. Rather, the body of works are attributed to Gentileschi, partly because historians have been able to match her paintings‘ signatures on letters she wrote. However, Raymond Ward Bissell questioned if she was the one signing her paintings because of the spellings used in four of the letters in which "Gentileschi" is spelled with the letter "e" used in place of "i".

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the Signature about the Description of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

Gentileschi's signature is shown on the stone step on the lower left of the image. She only signed 19 of her paintings in total. The spelling and format of signature varied because at that time, spelling was not standardized. Rather, the body of works are attributed to Gentileschi, partly because historians have been able to match her paintings‘ signatures on letters she wrote. However, Raymond Ward Bissell questioned if she was the one signing her paintings because of the spellings used in four of the letters in which "Gentileschi" is spelled with the letter "e" used in place of "i".

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the Signature of the Description explained?

Gentileschi's signature is shown on the stone step on the lower left of the image. She only signed 19 of her paintings in total. The spelling and format of signature varied because at that time, spelling was not standardized. Rather, the body of works are attributed to Gentileschi, partly because historians have been able to match her paintings‘ signatures on letters she wrote. However, Raymond Ward Bissell questioned if she was the one signing her paintings because of the spellings used in four of the letters in which "Gentileschi" is spelled with the letter "e" used in place of "i".

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Describe the characteristics of the Signature in Susanna and the Elders (Artemisia Gentileschi, Pommersfelden)'s Description.

Gentileschi's signature is shown on the stone step on the lower left of the image. She only signed 19 of her paintings in total. The spelling and format of signature varied because at that time, spelling was not standardized. Rather, the body of works are attributed to Gentileschi, partly because historians have been able to match her paintings‘ signatures on letters she wrote. However, Raymond Ward Bissell questioned if she was the one signing her paintings because of the spellings used in four of the letters in which "Gentileschi" is spelled with the letter "e" used in place of "i".

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In the context of Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), explain the Gentileschi painting style and the Description.

Gentileschi did not include landscape or background in many of her paintings. As shown in this painting, the only background is a blue sky. It was not until the mid-1630s that Gentileschi began using background or landscape, which may be seen in another of her paintings of the same story.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the Gentileschi painting style about the Description of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

Gentileschi did not include landscape or background in many of her paintings. As shown in this painting, the only background is a blue sky. It was not until the mid-1630s that Gentileschi began using background or landscape, which may be seen in another of her paintings of the same story.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the Gentileschi painting style of the Description explained?

Gentileschi did not include landscape or background in many of her paintings. As shown in this painting, the only background is a blue sky. It was not until the mid-1630s that Gentileschi began using background or landscape, which may be seen in another of her paintings of the same story.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Describe the characteristics of the Gentileschi painting style in Susanna and the Elders (Artemisia Gentileschi, Pommersfelden)'s Description.

Gentileschi did not include landscape or background in many of her paintings. As shown in this painting, the only background is a blue sky. It was not until the mid-1630s that Gentileschi began using background or landscape, which may be seen in another of her paintings of the same story.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In the context of Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), explain the Date and the History.

The questioning of the date of the painting started in 1845, in Joseph Heller's guidebook for the Pommersfelden collection. Art historian Rave said that the last digit looked like a 6 or a 9, so the date could be 1616 or 1619. On the other hand, art historians such as Rose-Marie Hagen said that it was a zero, and the date of 1610 was correct. The painting was x-rayed in 1970 by Susanna P. Sack, which confirmed that the date is written as 1610. That revelation was published by Mary D. Garrard in 1982 and most scholars have accepted it. The date of the painting is important because a date of 1616 or 1619 it would put the painting into the Florentine period. However, since the work was completed in 1610, it was completed during the Roman period. Even Gentileschi's birth year was questioned by art historians Roberto Longhi and Andrea Emiliani, because there was an incorrect identification of her birth date. That was corrected by Bissell in 1968, after she found a public record of Gentileschi's birth year.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the Date about the History of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

The questioning of the date of the painting started in 1845, in Joseph Heller's guidebook for the Pommersfelden collection. Art historian Rave said that the last digit looked like a 6 or a 9, so the date could be 1616 or 1619. On the other hand, art historians such as Rose-Marie Hagen said that it was a zero, and the date of 1610 was correct. The painting was x-rayed in 1970 by Susanna P. Sack, which confirmed that the date is written as 1610. That revelation was published by Mary D. Garrard in 1982 and most scholars have accepted it. The date of the painting is important because a date of 1616 or 1619 it would put the painting into the Florentine period. However, since the work was completed in 1610, it was completed during the Roman period. Even Gentileschi's birth year was questioned by art historians Roberto Longhi and Andrea Emiliani, because there was an incorrect identification of her birth date. That was corrected by Bissell in 1968, after she found a public record of Gentileschi's birth year.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the Date of the History explained?

The questioning of the date of the painting started in 1845, in Joseph Heller's guidebook for the Pommersfelden collection. Art historian Rave said that the last digit looked like a 6 or a 9, so the date could be 1616 or 1619. On the other hand, art historians such as Rose-Marie Hagen said that it was a zero, and the date of 1610 was correct. The painting was x-rayed in 1970 by Susanna P. Sack, which confirmed that the date is written as 1610. That revelation was published by Mary D. Garrard in 1982 and most scholars have accepted it. The date of the painting is important because a date of 1616 or 1619 it would put the painting into the Florentine period. However, since the work was completed in 1610, it was completed during the Roman period. Even Gentileschi's birth year was questioned by art historians Roberto Longhi and Andrea Emiliani, because there was an incorrect identification of her birth date. That was corrected by Bissell in 1968, after she found a public record of Gentileschi's birth year.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Describe the characteristics of the Date in Susanna and the Elders (Artemisia Gentileschi, Pommersfelden)'s History.

The questioning of the date of the painting started in 1845, in Joseph Heller's guidebook for the Pommersfelden collection. Art historian Rave said that the last digit looked like a 6 or a 9, so the date could be 1616 or 1619. On the other hand, art historians such as Rose-Marie Hagen said that it was a zero, and the date of 1610 was correct. The painting was x-rayed in 1970 by Susanna P. Sack, which confirmed that the date is written as 1610. That revelation was published by Mary D. Garrard in 1982 and most scholars have accepted it. The date of the painting is important because a date of 1616 or 1619 it would put the painting into the Florentine period. However, since the work was completed in 1610, it was completed during the Roman period. Even Gentileschi's birth year was questioned by art historians Roberto Longhi and Andrea Emiliani, because there was an incorrect identification of her birth date. That was corrected by Bissell in 1968, after she found a public record of Gentileschi's birth year.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In the context of Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), explain the Father's guidance and the History.

Gentileschi's father, Orazio Gentileschi, was one of the first people in Italy to paint in the style of Caravaggio. With Gentileschi's father being her first teacher, it was not surprising that Gentileschi painted in a similar style. Art historians have different opinions about this version of Susanna and the Elders. Although there is no evidence to support them, opinions of art historians about the subject of these paintings abound. One opinion comes from Marry D. Garrard who thinks that Gentileschi is representing a rare visual of a woman who has been victimized. This is because Garrard believes that the painting could be related to Gentileschi's resistance to the sexual harassment that she received from men in her community before she was raped by Agostino Tassi. On the other hand, Gianni Papi stated his opinion that the two elders were meant to represent her father and her second teacher, Tassi, because it is thought that his harassment of her was going on in the years prior to the rape and trial. If she was being harassed by Tassi in the years leading up to the trial, Gentileschi could have been portraying her feelings of the harassment through this subject matter.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the Father's guidance about the History of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

Gentileschi's father, Orazio Gentileschi, was one of the first people in Italy to paint in the style of Caravaggio. With Gentileschi's father being her first teacher, it was not surprising that Gentileschi painted in a similar style. Art historians have different opinions about this version of Susanna and the Elders. Although there is no evidence to support them, opinions of art historians about the subject of these paintings abound. One opinion comes from Marry D. Garrard who thinks that Gentileschi is representing a rare visual of a woman who has been victimized. This is because Garrard believes that the painting could be related to Gentileschi's resistance to the sexual harassment that she received from men in her community before she was raped by Agostino Tassi. On the other hand, Gianni Papi stated his opinion that the two elders were meant to represent her father and her second teacher, Tassi, because it is thought that his harassment of her was going on in the years prior to the rape and trial. If she was being harassed by Tassi in the years leading up to the trial, Gentileschi could have been portraying her feelings of the harassment through this subject matter.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the Father's guidance of the History explained?

Gentileschi's father, Orazio Gentileschi, was one of the first people in Italy to paint in the style of Caravaggio. With Gentileschi's father being her first teacher, it was not surprising that Gentileschi painted in a similar style. Art historians have different opinions about this version of Susanna and the Elders. Although there is no evidence to support them, opinions of art historians about the subject of these paintings abound. One opinion comes from Marry D. Garrard who thinks that Gentileschi is representing a rare visual of a woman who has been victimized. This is because Garrard believes that the painting could be related to Gentileschi's resistance to the sexual harassment that she received from men in her community before she was raped by Agostino Tassi. On the other hand, Gianni Papi stated his opinion that the two elders were meant to represent her father and her second teacher, Tassi, because it is thought that his harassment of her was going on in the years prior to the rape and trial. If she was being harassed by Tassi in the years leading up to the trial, Gentileschi could have been portraying her feelings of the harassment through this subject matter.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Describe the characteristics of the Father's guidance in Susanna and the Elders (Artemisia Gentileschi, Pommersfelden)'s History.

Gentileschi's father, Orazio Gentileschi, was one of the first people in Italy to paint in the style of Caravaggio. With Gentileschi's father being her first teacher, it was not surprising that Gentileschi painted in a similar style. Art historians have different opinions about this version of Susanna and the Elders. Although there is no evidence to support them, opinions of art historians about the subject of these paintings abound. One opinion comes from Marry D. Garrard who thinks that Gentileschi is representing a rare visual of a woman who has been victimized. This is because Garrard believes that the painting could be related to Gentileschi's resistance to the sexual harassment that she received from men in her community before she was raped by Agostino Tassi. On the other hand, Gianni Papi stated his opinion that the two elders were meant to represent her father and her second teacher, Tassi, because it is thought that his harassment of her was going on in the years prior to the rape and trial. If she was being harassed by Tassi in the years leading up to the trial, Gentileschi could have been portraying her feelings of the harassment through this subject matter.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In the context of Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), explain the Provenance and the History.

The painting was in the collection of the artist Benedetto Luti by 1715, as he made mention of it in a letter that year to his patron Hofrat Bauer von Heffenstein, who was a councilor to Lothar Franz von Schönborn, archbishop of Mainz. By 1719, the painting was part of the Schönborn collection. Joseph Heller's 1845 guidebook to the Schönborn collection at Pommersfelden included the first published attribution to Artemisia.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the Provenance about the History of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

The painting was in the collection of the artist Benedetto Luti by 1715, as he made mention of it in a letter that year to his patron Hofrat Bauer von Heffenstein, who was a councilor to Lothar Franz von Schönborn, archbishop of Mainz. By 1719, the painting was part of the Schönborn collection. Joseph Heller's 1845 guidebook to the Schönborn collection at Pommersfelden included the first published attribution to Artemisia.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the Provenance of the History explained?

The painting was in the collection of the artist Benedetto Luti by 1715, as he made mention of it in a letter that year to his patron Hofrat Bauer von Heffenstein, who was a councilor to Lothar Franz von Schönborn, archbishop of Mainz. By 1719, the painting was part of the Schönborn collection. Joseph Heller's 1845 guidebook to the Schönborn collection at Pommersfelden included the first published attribution to Artemisia.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Describe the characteristics of the Provenance in Susanna and the Elders (Artemisia Gentileschi, Pommersfelden)'s History.

The painting was in the collection of the artist Benedetto Luti by 1715, as he made mention of it in a letter that year to his patron Hofrat Bauer von Heffenstein, who was a councilor to Lothar Franz von Schönborn, archbishop of Mainz. By 1719, the painting was part of the Schönborn collection. Joseph Heller's 1845 guidebook to the Schönborn collection at Pommersfelden included the first published attribution to Artemisia.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Focus on Susanna and the Elders (Artemisia Gentileschi, Pommersfelden) and explain the Impact.

Artist Kathleen Gilje created a work of art based on Gentileschi's painting in which she made one, more violent version of Gentileschi's painting in lead paint, then painted a copy of Gentileschi's original over top. An x-ray of Gilje's painting shows Gentileschi's version of Susanna overlaying a version that depicts the rage and pain of a rape victim. Gilje titled this piece Susanna and the Elders Restored.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: Explain the Impact of this artwork, Susanna and the Elders (Artemisia Gentileschi, Pommersfelden).

Artist Kathleen Gilje created a work of art based on Gentileschi's painting in which she made one, more violent version of Gentileschi's painting in lead paint, then painted a copy of Gentileschi's original over top. An x-ray of Gilje's painting shows Gentileschi's version of Susanna overlaying a version that depicts the rage and pain of a rape victim. Gilje titled this piece Susanna and the Elders Restored.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: How does Susanna and the Elders (Artemisia Gentileschi, Pommersfelden) explain its Impact?

Artist Kathleen Gilje created a work of art based on Gentileschi's painting in which she made one, more violent version of Gentileschi's painting in lead paint, then painted a copy of Gentileschi's original over top. An x-ray of Gilje's painting shows Gentileschi's version of Susanna overlaying a version that depicts the rage and pain of a rape victim. Gilje titled this piece Susanna and the Elders Restored.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


Prompt: In Susanna and the Elders (Artemisia Gentileschi, Pommersfelden), how is the Impact discussed?

Artist Kathleen Gilje created a work of art based on Gentileschi's painting in which she made one, more violent version of Gentileschi's painting in lead paint, then painted a copy of Gentileschi's original over top. An x-ray of Gilje's painting shows Gentileschi's version of Susanna overlaying a version that depicts the rage and pain of a rape victim. Gilje titled this piece Susanna and the Elders Restored.

Category:Paintings by Artemisia Gentileschi

Category:Paintings of Susanna and the Elders


The Mystical Nativity

Prompt: Focus on The Mystical Nativity and explain the abstract.

The Mystical Nativity is a painting in oil on canvas executed c. 1500–1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. It is his only signed work and has an unusual iconography for a painting of the Nativity.The Greek inscription at the top translates as: 'This picture, at the end of the year 1500, in the troubles of Italy, I, Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three and a half years; then he shall be bound in the twelfth [chapter] and we shall see [him buried] as in this picture'. Botticelli believed himself to be living during the Great Tribulation, possibly due to the upheavals in Europe at the time, and was predicting Christ's millennium as stated in the Book of Revelation.The painting is connected with the influence of Girolamo Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it. The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger both than other figures, and their surroundings; this was certainly done deliberately for effect, as earlier works by Botticelli use correct graphical perspective.It is not to be confused with the Mystical Nativity or Adoration in the Forest by Filippo Lippi, now in Berlin.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: Explain the abstract of this artwork, The Mystical Nativity.

The Mystical Nativity is a painting in oil on canvas executed c. 1500–1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. It is his only signed work and has an unusual iconography for a painting of the Nativity.The Greek inscription at the top translates as: 'This picture, at the end of the year 1500, in the troubles of Italy, I, Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three and a half years; then he shall be bound in the twelfth [chapter] and we shall see [him buried] as in this picture'. Botticelli believed himself to be living during the Great Tribulation, possibly due to the upheavals in Europe at the time, and was predicting Christ's millennium as stated in the Book of Revelation.The painting is connected with the influence of Girolamo Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it. The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger both than other figures, and their surroundings; this was certainly done deliberately for effect, as earlier works by Botticelli use correct graphical perspective.It is not to be confused with the Mystical Nativity or Adoration in the Forest by Filippo Lippi, now in Berlin.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: How does The Mystical Nativity explain its abstract?

The Mystical Nativity is a painting in oil on canvas executed c. 1500–1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. It is his only signed work and has an unusual iconography for a painting of the Nativity.The Greek inscription at the top translates as: 'This picture, at the end of the year 1500, in the troubles of Italy, I, Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three and a half years; then he shall be bound in the twelfth [chapter] and we shall see [him buried] as in this picture'. Botticelli believed himself to be living during the Great Tribulation, possibly due to the upheavals in Europe at the time, and was predicting Christ's millennium as stated in the Book of Revelation.The painting is connected with the influence of Girolamo Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it. The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger both than other figures, and their surroundings; this was certainly done deliberately for effect, as earlier works by Botticelli use correct graphical perspective.It is not to be confused with the Mystical Nativity or Adoration in the Forest by Filippo Lippi, now in Berlin.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: In The Mystical Nativity, how is the abstract discussed?

The Mystical Nativity is a painting in oil on canvas executed c. 1500–1501 by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. It is his only signed work and has an unusual iconography for a painting of the Nativity.The Greek inscription at the top translates as: 'This picture, at the end of the year 1500, in the troubles of Italy, I, Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three and a half years; then he shall be bound in the twelfth [chapter] and we shall see [him buried] as in this picture'. Botticelli believed himself to be living during the Great Tribulation, possibly due to the upheavals in Europe at the time, and was predicting Christ's millennium as stated in the Book of Revelation.The painting is connected with the influence of Girolamo Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it. The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger both than other figures, and their surroundings; this was certainly done deliberately for effect, as earlier works by Botticelli use correct graphical perspective.It is not to be confused with the Mystical Nativity or Adoration in the Forest by Filippo Lippi, now in Berlin.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: Focus on The Mystical Nativity and explain the Description.

The Virgin Mary is shown kneeling before the Christ Child in the centre, both are on a larger scale than the other figures. Joseph sits on the ground next to the child, perhaps asleep, with his face not visible. Behind the family are a ox and an ass. On either side of the main group an angel with an olive branch in their outstretched hand shows the child to two shepherds and three men in long gowns, perhaps the biblical Magi. These five are kneeling and crowned with olive branches. At the bottom of the work, three angels embrace three men also with olive on their head. Around them  seven small devils are piercing themselves with lances and falling back into the underworld, "burying themselves".

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: Explain the Description of this artwork, The Mystical Nativity.

The Virgin Mary is shown kneeling before the Christ Child in the centre, both are on a larger scale than the other figures. Joseph sits on the ground next to the child, perhaps asleep, with his face not visible. Behind the family are a ox and an ass. On either side of the main group an angel with an olive branch in their outstretched hand shows the child to two shepherds and three men in long gowns, perhaps the biblical Magi. These five are kneeling and crowned with olive branches. At the bottom of the work, three angels embrace three men also with olive on their head. Around them  seven small devils are piercing themselves with lances and falling back into the underworld, "burying themselves".

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: How does The Mystical Nativity explain its Description?

The Virgin Mary is shown kneeling before the Christ Child in the centre, both are on a larger scale than the other figures. Joseph sits on the ground next to the child, perhaps asleep, with his face not visible. Behind the family are a ox and an ass. On either side of the main group an angel with an olive branch in their outstretched hand shows the child to two shepherds and three men in long gowns, perhaps the biblical Magi. These five are kneeling and crowned with olive branches. At the bottom of the work, three angels embrace three men also with olive on their head. Around them  seven small devils are piercing themselves with lances and falling back into the underworld, "burying themselves".

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: In The Mystical Nativity, how is the Description discussed?

The Virgin Mary is shown kneeling before the Christ Child in the centre, both are on a larger scale than the other figures. Joseph sits on the ground next to the child, perhaps asleep, with his face not visible. Behind the family are a ox and an ass. On either side of the main group an angel with an olive branch in their outstretched hand shows the child to two shepherds and three men in long gowns, perhaps the biblical Magi. These five are kneeling and crowned with olive branches. At the bottom of the work, three angels embrace three men also with olive on their head. Around them  seven small devils are piercing themselves with lances and falling back into the underworld, "burying themselves".

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: Focus on The Mystical Nativity and explain the Historical context.

The Mystical Nativity depicts a scene of joy and celebration, of earthly and heavenly delight, with angels dancing at the top of the painting. At the top of the painting stands Sandro Botticelli's name – but also the apocalyptic and troubling words. And there are dark premonitions – the helpless child rests on a sheet that evokes the shroud in which his body will one day be wrapped, while the cave in which the scene is set calls to mind his tomb. The Kings on the left bear no gifts, but their own devotion. At the top of the painting twelve angels dressed in the colours of faith, hope and charity dance in a circle holding olive branches, and above them heaven opens in a great golden dome, while at the bottom of the painting three angels embrace three men, seeming to raise them up from the ground. They hold scrolls which proclaim in Latin, "peace on earth to men of goodwill". Behind them seven devils flee to the underworld, some impaled on their own weapons. In Renaissance times Last Judgment paintings showed viewers the reckoning of the damned and the saved at the time of Christ's Second Coming. According to art historian Jonathan Nelson, "in echoing this kind of painting the Mystical Nativity is asking us to think not only of Christ's birth but of his return".The painting emerged from the city of Florence in a time when the fanatical preacher Girolamo Savonarola held the city in its grip. He had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality: the Italian War of 1494–1498. In 1494 a huge French army invaded Italy and 10,000 troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in Latin were the unique mystical qualities or privileges of the Virgin Mary – she is 'mother of her father', 'daughter of her son', 'bride of God' etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infrared reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola's 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting's inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.For years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the river Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola's followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystical Nativity.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: Explain the Historical context of this artwork, The Mystical Nativity.

The Mystical Nativity depicts a scene of joy and celebration, of earthly and heavenly delight, with angels dancing at the top of the painting. At the top of the painting stands Sandro Botticelli's name – but also the apocalyptic and troubling words. And there are dark premonitions – the helpless child rests on a sheet that evokes the shroud in which his body will one day be wrapped, while the cave in which the scene is set calls to mind his tomb. The Kings on the left bear no gifts, but their own devotion. At the top of the painting twelve angels dressed in the colours of faith, hope and charity dance in a circle holding olive branches, and above them heaven opens in a great golden dome, while at the bottom of the painting three angels embrace three men, seeming to raise them up from the ground. They hold scrolls which proclaim in Latin, "peace on earth to men of goodwill". Behind them seven devils flee to the underworld, some impaled on their own weapons. In Renaissance times Last Judgment paintings showed viewers the reckoning of the damned and the saved at the time of Christ's Second Coming. According to art historian Jonathan Nelson, "in echoing this kind of painting the Mystical Nativity is asking us to think not only of Christ's birth but of his return".The painting emerged from the city of Florence in a time when the fanatical preacher Girolamo Savonarola held the city in its grip. He had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality: the Italian War of 1494–1498. In 1494 a huge French army invaded Italy and 10,000 troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in Latin were the unique mystical qualities or privileges of the Virgin Mary – she is 'mother of her father', 'daughter of her son', 'bride of God' etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infrared reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola's 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting's inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.For years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the river Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola's followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystical Nativity.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: How does The Mystical Nativity explain its Historical context?

The Mystical Nativity depicts a scene of joy and celebration, of earthly and heavenly delight, with angels dancing at the top of the painting. At the top of the painting stands Sandro Botticelli's name – but also the apocalyptic and troubling words. And there are dark premonitions – the helpless child rests on a sheet that evokes the shroud in which his body will one day be wrapped, while the cave in which the scene is set calls to mind his tomb. The Kings on the left bear no gifts, but their own devotion. At the top of the painting twelve angels dressed in the colours of faith, hope and charity dance in a circle holding olive branches, and above them heaven opens in a great golden dome, while at the bottom of the painting three angels embrace three men, seeming to raise them up from the ground. They hold scrolls which proclaim in Latin, "peace on earth to men of goodwill". Behind them seven devils flee to the underworld, some impaled on their own weapons. In Renaissance times Last Judgment paintings showed viewers the reckoning of the damned and the saved at the time of Christ's Second Coming. According to art historian Jonathan Nelson, "in echoing this kind of painting the Mystical Nativity is asking us to think not only of Christ's birth but of his return".The painting emerged from the city of Florence in a time when the fanatical preacher Girolamo Savonarola held the city in its grip. He had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality: the Italian War of 1494–1498. In 1494 a huge French army invaded Italy and 10,000 troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in Latin were the unique mystical qualities or privileges of the Virgin Mary – she is 'mother of her father', 'daughter of her son', 'bride of God' etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infrared reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola's 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting's inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.For years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the river Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola's followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystical Nativity.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: In The Mystical Nativity, how is the Historical context discussed?

The Mystical Nativity depicts a scene of joy and celebration, of earthly and heavenly delight, with angels dancing at the top of the painting. At the top of the painting stands Sandro Botticelli's name – but also the apocalyptic and troubling words. And there are dark premonitions – the helpless child rests on a sheet that evokes the shroud in which his body will one day be wrapped, while the cave in which the scene is set calls to mind his tomb. The Kings on the left bear no gifts, but their own devotion. At the top of the painting twelve angels dressed in the colours of faith, hope and charity dance in a circle holding olive branches, and above them heaven opens in a great golden dome, while at the bottom of the painting three angels embrace three men, seeming to raise them up from the ground. They hold scrolls which proclaim in Latin, "peace on earth to men of goodwill". Behind them seven devils flee to the underworld, some impaled on their own weapons. In Renaissance times Last Judgment paintings showed viewers the reckoning of the damned and the saved at the time of Christ's Second Coming. According to art historian Jonathan Nelson, "in echoing this kind of painting the Mystical Nativity is asking us to think not only of Christ's birth but of his return".The painting emerged from the city of Florence in a time when the fanatical preacher Girolamo Savonarola held the city in its grip. He had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality: the Italian War of 1494–1498. In 1494 a huge French army invaded Italy and 10,000 troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in Latin were the unique mystical qualities or privileges of the Virgin Mary – she is 'mother of her father', 'daughter of her son', 'bride of God' etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infrared reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola's 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting's inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.For years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the river Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola's followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystical Nativity.

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: Focus on The Mystical Nativity and explain the Technique.

The painting is on canvas – normally he would have used wood panel – perhaps for a painting with a dangerous message, canvas had the advantage that it could be rolled up and hidden. With his canvas prepared he would sketch a detailed design on paper, then he transferred this to canvas. He drew on many sources – the dancing angels echo his own three graces of Primavera, the scurrying devil was inspired by a German woodcut. X-rays show that very little of the original design changed – only an angel's wing was adjusted and trees added over the roof of the stable. Botticelli was now ready to build up the image using tempera paint – the canvas was an experimental medium. To create the heavenly dome Botticelli called on the goldsmith's craft he had learned as a boy. "The symbolism of the gold is to do with the unchanging, untarnished nature of heaven – gold doesn't decay, it doesn't darken like silver. Botticelli would have used an adhesive layer made of oil mixed with resin – not burnished, the gold just patted down on to the surface, following the surface irregularities of the canvas – a glitter, intricate, it would have helped the jewel like quality of the painting – it would have drawn the eye upwards from the Nativity into Heaven. Faith, hope and charity, [the angels clothed in] white, green and red – but the copper based green pigment has discoloured with time, to bronze. Originally it would have been vibrant."

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: Explain the Technique of this artwork, The Mystical Nativity.

The painting is on canvas – normally he would have used wood panel – perhaps for a painting with a dangerous message, canvas had the advantage that it could be rolled up and hidden. With his canvas prepared he would sketch a detailed design on paper, then he transferred this to canvas. He drew on many sources – the dancing angels echo his own three graces of Primavera, the scurrying devil was inspired by a German woodcut. X-rays show that very little of the original design changed – only an angel's wing was adjusted and trees added over the roof of the stable. Botticelli was now ready to build up the image using tempera paint – the canvas was an experimental medium. To create the heavenly dome Botticelli called on the goldsmith's craft he had learned as a boy. "The symbolism of the gold is to do with the unchanging, untarnished nature of heaven – gold doesn't decay, it doesn't darken like silver. Botticelli would have used an adhesive layer made of oil mixed with resin – not burnished, the gold just patted down on to the surface, following the surface irregularities of the canvas – a glitter, intricate, it would have helped the jewel like quality of the painting – it would have drawn the eye upwards from the Nativity into Heaven. Faith, hope and charity, [the angels clothed in] white, green and red – but the copper based green pigment has discoloured with time, to bronze. Originally it would have been vibrant."

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857


The Mystical Nativity

Prompt: How does The Mystical Nativity explain its Technique?

The painting is on canvas – normally he would have used wood panel – perhaps for a painting with a dangerous message, canvas had the advantage that it could be rolled up and hidden. With his canvas prepared he would sketch a detailed design on paper, then he transferred this to canvas. He drew on many sources – the dancing angels echo his own three graces of Primavera, the scurrying devil was inspired by a German woodcut. X-rays show that very little of the original design changed – only an angel's wing was adjusted and trees added over the roof of the stable. Botticelli was now ready to build up the image using tempera paint – the canvas was an experimental medium. To create the heavenly dome Botticelli called on the goldsmith's craft he had learned as a boy. "The symbolism of the gold is to do with the unchanging, untarnished nature of heaven – gold doesn't decay, it doesn't darken like silver. Botticelli would have used an adhesive layer made of oil mixed with resin – not burnished, the gold just patted down on to the surface, following the surface irregularities of the canvas – a glitter, intricate, it would have helped the jewel like quality of the painting – it would have drawn the eye upwards from the Nativity into Heaven. Faith, hope and charity, [the angels clothed in] white, green and red – but the copper based green pigment has discoloured with time, to bronze. Originally it would have been vibrant."

The Private Life of a Christmas Masterpiece

"All those little toes that are climbing down the stairs – you can see the fascination with the patterns of the toes that are circling in the angels of the ''Mystical Nativity'' ... The ''Mystical Nativity'' worked a particular magic on members of the [[Pre-Raphaelite Brotherhood

Portrait of a Lady known as Esmeralda Brandini

File:Edward Burne-Jones The Golden Stairs.jpg

Savonarola's preaching attracted huge crowds to [[Florence Cathedral

Category:Paintings by Sandro Botticelli in the National Gallery, London

Art Treasures Exhibition, Manchester 1857