Mona Lisa

Prompt: In Mona Lisa, how is the Cultural depictions of the Legacy explained?

Cultural depictions of the Mona Lisa include: The 1915 Mona Lisa by German composer Max von Schillings.Two 1930s films written about the theft, (The Theft of the Mona Lisa and Arsène Lupin).The 1950 song "Mona Lisa" recorded by Nat King Cole.The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.The 2018 song "Mona Lisa" by rapper Lil Wayne.The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.Lego released a set called Mona Lisa 31213 as part of their Lego Art theme. The set includes 1503 pieces to build it.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Describe the characteristics of the Cultural depictions in Mona Lisa's Legacy.

Cultural depictions of the Mona Lisa include: The 1915 Mona Lisa by German composer Max von Schillings.Two 1930s films written about the theft, (The Theft of the Mona Lisa and Arsène Lupin).The 1950 song "Mona Lisa" recorded by Nat King Cole.The 2011 song "The Ballad of Mona Lisa" by American rock band Panic! at the Disco.The 2018 song "Mona Lisa" by rapper Lil Wayne.The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.Lego released a set called Mona Lisa 31213 as part of their Lego Art theme. The set includes 1503 pieces to build it.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: In the context of Mona Lisa, explain the Prado Museum La Gioconda and the Early versions and copies.

A version of Mona Lisa known as Mujer de mano de Leonardo Abince ("Woman by Leonardo da Vinci's hand", Museo del Prado, Madrid) was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì (1480–1524) or by Melzi (1493–1572) has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Explain the Prado Museum La Gioconda about the Early versions and copies of this artwork, Mona Lisa.

A version of Mona Lisa known as Mujer de mano de Leonardo Abince ("Woman by Leonardo da Vinci's hand", Museo del Prado, Madrid) was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì (1480–1524) or by Melzi (1493–1572) has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: In Mona Lisa, how is the Prado Museum La Gioconda of the Early versions and copies explained?

A version of Mona Lisa known as Mujer de mano de Leonardo Abince ("Woman by Leonardo da Vinci's hand", Museo del Prado, Madrid) was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì (1480–1524) or by Melzi (1493–1572) has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Describe the characteristics of the Prado Museum La Gioconda in Mona Lisa's Early versions and copies.

A version of Mona Lisa known as Mujer de mano de Leonardo Abince ("Woman by Leonardo da Vinci's hand", Museo del Prado, Madrid) was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì (1480–1524) or by Melzi (1493–1572) has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: In the context of Mona Lisa, explain the Isleworth Mona Lisa and the Early versions and copies.

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Explain the Isleworth Mona Lisa about the Early versions and copies of this artwork, Mona Lisa.

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: In Mona Lisa, how is the Isleworth Mona Lisa of the Early versions and copies explained?

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Describe the characteristics of the Isleworth Mona Lisa in Mona Lisa's Early versions and copies.

A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: In the context of Mona Lisa, explain the Hermitage Mona Lisa and the Early versions and copies.

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Explain the Hermitage Mona Lisa about the Early versions and copies of this artwork, Mona Lisa.

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: In Mona Lisa, how is the Hermitage Mona Lisa of the Early versions and copies explained?

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Describe the characteristics of the Hermitage Mona Lisa in Mona Lisa's Early versions and copies.

A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Focus on Mona Lisa and explain the Mona Lisa illusion.

If a person being photographed looks into the camera lens, the image produced provides an illusion that viewers perceive as the subject looking at them, irrespective of the photograph's position. It is presumably for this reason that many people, while taking photographs, ask subjects to look at the camera rather than anywhere else. In psychology, this is known as the "Mona Lisa illusion", which was named after the famous painting that also presents the same illusion.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: Explain the Mona Lisa illusion of this artwork, Mona Lisa.

If a person being photographed looks into the camera lens, the image produced provides an illusion that viewers perceive as the subject looking at them, irrespective of the photograph's position. It is presumably for this reason that many people, while taking photographs, ask subjects to look at the camera rather than anywhere else. In psychology, this is known as the "Mona Lisa illusion", which was named after the famous painting that also presents the same illusion.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: How does Mona Lisa explain its Mona Lisa illusion?

If a person being photographed looks into the camera lens, the image produced provides an illusion that viewers perceive as the subject looking at them, irrespective of the photograph's position. It is presumably for this reason that many people, while taking photographs, ask subjects to look at the camera rather than anywhere else. In psychology, this is known as the "Mona Lisa illusion", which was named after the famous painting that also presents the same illusion.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Mona Lisa

Prompt: In Mona Lisa, how is the Mona Lisa illusion discussed?

If a person being photographed looks into the camera lens, the image produced provides an illusion that viewers perceive as the subject looking at them, irrespective of the photograph's position. It is presumably for this reason that many people, while taking photographs, ask subjects to look at the camera rather than anywhere else. In psychology, this is known as the "Mona Lisa illusion", which was named after the famous painting that also presents the same illusion.

''(Left to right)'' US President [[John F. Kennedy

Category:Paintings in the Louvre by Italian artists

File:JFK, Marie-Madeleine Lioux, André Malraux, Jackie, L.B. Johnson, unveiling Mona Lisa at National Gallery of Art.png

Detail of Lisa's hands, her right hand resting on her left. Leonardo chose this gesture rather than a wedding ring to depict Lisa as a virtuous woman and faithful wife.<ref name="Z12">{{harvnb

File:Louis Beroud - Mona Lisa au Louvre 1911.jpg

:commons:File:Davide Ghirlandaio Retrato de dama de perfil Gemäldegalerie, Berlín.jpg

Conservation Science in Cultural Heritage

Sector research institutes of Denmark#Økonomi- og Erhvervsministeriet

Costanza d'Avalos, Duchess of Francavilla

Category:Portrait paintings in the Louvre

National Museum of Art, Architecture and Design

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (hands).jpg

List of most expensive paintings#List of highest prices paid

The Virgin and Child with St. Anne (Leonardo)

File:Sketch of the Mona Lisa by Raphael.jpg

File:Leonardo di ser Piero da Vinci - Portrait de Mona Lisa (dite La Joconde) - Louvre 779 - Detail (right landscape).jpg

Saint Jerome in the Wilderness (Leonardo)


Les Demoiselles d'Avignon

Prompt: Focus on Les Demoiselles d'Avignon and explain the abstract.

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's  Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Explain the abstract of this artwork, Les Demoiselles d'Avignon.

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's  Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: How does Les Demoiselles d'Avignon explain its abstract?

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's  Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: In Les Demoiselles d'Avignon, how is the abstract discussed?

Les Demoiselles d'Avignon (The Young Ladies of Avignon, originally titled The Brothel of Avignon) is a large oil painting created in 1907 by the Spanish artist Pablo Picasso. Part of the permanent collection of the Museum of Modern Art in New York, it portrays five nude female prostitutes in a brothel on Carrer d'Avinyó, a street in Barcelona, Spain. The figures are confrontational and not conventionally feminine, being rendered with angular and disjointed body shapes, some to a menacing degree. The far left figure exhibits facial features and dress of Egyptian or southern Asian style. The two adjacent figures are in an Iberian style of Picasso's  Spain, while the two on the right have African mask-like features. Picasso said the ethnic primitivism evoked in these masks moved him to "liberate an utterly original artistic style of compelling, even savage force” leading him to add a shamanistic aspect to his project.Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in Las Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-Lavoir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, Les Demoiselles d'Avignon, instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel ("my brothel"), or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization Las chicas de Avignon ("The Girls of Avignon").

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Focus on Les Demoiselles d'Avignon and explain the Background and development.

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques (1905), which recalls the work of Gustave Courbet (1819–1877) and Édouard Manet (1832–1883); and Boy Leading a Horse (1905–06), which recalls Cézanne's Bather (1885–1887) and El Greco's Saint Martin and the Beggar (1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive (African, Micronesian, Native American) art. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Picasso became a favorite of the American art collectors Gertrude Stein and her brother Leo around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse (1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone (1864–1929), and her sister Etta Cone (1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Explain the Background and development of this artwork, Les Demoiselles d'Avignon.

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques (1905), which recalls the work of Gustave Courbet (1819–1877) and Édouard Manet (1832–1883); and Boy Leading a Horse (1905–06), which recalls Cézanne's Bather (1885–1887) and El Greco's Saint Martin and the Beggar (1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive (African, Micronesian, Native American) art. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Picasso became a favorite of the American art collectors Gertrude Stein and her brother Leo around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse (1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone (1864–1929), and her sister Etta Cone (1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: How does Les Demoiselles d'Avignon explain its Background and development?

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques (1905), which recalls the work of Gustave Courbet (1819–1877) and Édouard Manet (1832–1883); and Boy Leading a Horse (1905–06), which recalls Cézanne's Bather (1885–1887) and El Greco's Saint Martin and the Beggar (1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive (African, Micronesian, Native American) art. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Picasso became a favorite of the American art collectors Gertrude Stein and her brother Leo around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse (1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone (1864–1929), and her sister Etta Cone (1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: In Les Demoiselles d'Avignon, how is the Background and development discussed?

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques (1905), which recalls the work of Gustave Courbet (1819–1877) and Édouard Manet (1832–1883); and Boy Leading a Horse (1905–06), which recalls Cézanne's Bather (1885–1887) and El Greco's Saint Martin and the Beggar (1597–1599). While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive (African, Micronesian, Native American) art. He began exhibiting his work in the galleries of Berthe Weill (1865–1951) and Ambroise Vollard (1866–1939), quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Picasso became a favorite of the American art collectors Gertrude Stein and her brother Leo around 1905. The Steins' older brother Michael and his wife Sarah also became collectors of his work. Picasso painted portraits of both Gertrude Stein and her nephew Allan Stein.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse (1869–1954), who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone (1864–1929), and her sister Etta Cone (1870–1949), also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

The Hungry Lion Throws Itself on the Antelope

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Focus on Les Demoiselles d'Avignon and explain the Rivalry with Matisse.

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of  "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings,  evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish.Kramer goes on to say,Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. As between the mythological nymphs of Le bonheur de vivre and the grotesque effigies of Les Demoiselles, there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: Explain the Rivalry with Matisse of this artwork, Les Demoiselles d'Avignon.

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of  "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings,  evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish.Kramer goes on to say,Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. As between the mythological nymphs of Le bonheur de vivre and the grotesque effigies of Les Demoiselles, there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: How does Les Demoiselles d'Avignon explain its Rivalry with Matisse?

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of  "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings,  evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish.Kramer goes on to say,Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. As between the mythological nymphs of Le bonheur de vivre and the grotesque effigies of Les Demoiselles, there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''


Les Demoiselles d'Avignon

Prompt: In Les Demoiselles d'Avignon, how is the Rivalry with Matisse discussed?

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" ("Donatello among the wild beasts"), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair (1872–1945)—they also attracted some favorable attention. The painting that was singled out for the most attacks was Matisse's Woman with a Hat; the purchase of this work by Gertrude and Leo Stein had a very positive effect on Matisse, who was suffering demoralization from the bad reception of his work.Matisse's notoriety and preeminence as the leader of the new movement in modern painting continued to build throughout 1906 and 1907, and Matisse attracted a following of artists including Georges Braque (1880–1963), André Derain (1880–1954), Maurice de Vlaminck (1876–1958). Picasso's work had passed through his Blue period and his Rose period and while he had a considerable following his reputation was tame in comparison to his rival Matisse. The larger theme of Matisse's influential Le bonheur de vivre, an exploration of  "The Golden Age", evokes the historic "Ages of Man" theme and the potentials of a provocative new age that the twentieth century era offered. An equally bold, similarly themed painting titled The Golden Age, completed by Derain in 1905, shows the transfer of human ages in an even more direct way.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins (world beginnings,  evolution) an increasingly important theme in Paris at this time. The Blue Nude was one of the paintings that would later create an international sensation at the Armory Show of 1913 in New York City.From October 1906 when he began preparatory work for Les Demoiselles d'Avignon, until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler (1884–1979). Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting Les Demoiselles d'Avignon. Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,After the impact of Les Demoiselles d'Avignon, however, Matisse was never again mistaken for an avant-garde incendiary. With the bizarre painting that appalled and electrified the cognoscenti, which understood the Les Demoiselles was at once a response to Matisse's Le bonheur de vivre (1905–1906) and an assault upon the tradition from which it derived, Picasso effectively appropriated the role of avant-garde wild beast—a role that, as far as public opinion was concerned, he was never to relinquish.Kramer goes on to say,Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in Le bonheur de vivre, Picasso had turned to an alien tradition of primitive art to create in Les Demoiselles a netherworld of strange gods and violent emotions. As between the mythological nymphs of Le bonheur de vivre and the grotesque effigies of Les Demoiselles, there was no question as to which was the more shocking or more intended to be shocking. Picasso had unleashed a vein of feeling that was to have immense consequences for the art and culture of the modern era while Matisse's ambition came to seem, as he said in his Notes of a Painter, more limited—limited that is, to the realm of aesthetic pleasure. There was thus opened up, in the very first decade of the century and in the work of its two greatest artists, the chasm that has continued to divide the art of the modern era down to our own time.

Pablo Picasso, ''Nu aux bras levés (Nude),'' 1907

Pablo Picasso, 1907, ''Femme nue'', oil on canvas, 92 x 43 cm, Museo delle Culture, Milano

An illustration from Jouffret's ''Traité élémentaire de géométrie à quatre dimensions''. The book, which influenced Picasso, was given to him by Princet.

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure upper right).jpg

Category:Paintings in the Museum of Modern Art (New York City)

Pablo Picasso, 1907, ''Nu à la serviette'', oil on canvas, 116 x 89 cm

File:Pablo Picasso, 1907, Head of a Sleeping Woman (Study for Nude with Drapery), oil on canvas, 61.4 x 47.6 cm, The Museum of Modern Art, New York.jpg

File:Le Grand Baigneur, par Paul Cézanne, Yorck.jpg

File:Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine, 1929 photograph Pierre Legrain.jpg

File:Pablo Picasso, 1907, Femme nue, oil on canvas, 92 x 43 cm, Museo delle Culture, Milano.jpg

File:Congo masks published by Leo Frobenius in his 1898 Die Masken und Geheimbunde Afrika. Table II..jpg

Les Demoiselles d'Avignon}}, detail of the figure to the lower right

File:Pablo Picasso, 1907, Les Demoiselles d'Avignon (detail, figure lower right).jpg

Pablo Picasso, ''Head of a Sleeping Woman (Study for Nude with Drapery)'', 1907, oil on canvas, 61.4 × 47.6 cm, The [[Museum of Modern Art

Les Demoiselles d'Avignon}}, detail of the figure to the upper right

File:Pablo Picasso, 1907, Nu à la serviette, oil on canvas, 116 x 89 cm.jpg

File:Pablo Picasso, 1907, Nu aux bras levés (Nude).jpg

Congo masks published by Leo Frobenius in his 1898 book ''Die Masken und Geheimbunde Afrika''