Merahi metua no Tehamana

Prompt: How does Merahi metua no Tehamana explain its Teha'amana?

Teha'amana was the native wife of Paul Gauguin during his first visit to Tahiti in 1891 to 1893. It was common at that time for French colonists to take native wives; the wives simply referred to as  vahine, Tahitian for "woman". These vahines were often underage children, as was the case with Teha'amana, their marriage being arranged by their family for reasons of status or financial advantage. The marriages were generally not legally binding. All three of Gauguin's vahines, the two he took after Teha'amana eventually returned home while Teha'amana herself declined to continue their relationship when Gauguin returned to Tahiti in 1895. Teha'amana undoubtedly saw herself as conventionally married according to her local customs, but for Gauguin the marriage was clearly a temporary arrangement. Nevertheless, he did profess a tender love for Teha'amana in his journal Noa Noa.   Pierre Loti's  Le Mariage de Loti, a book that influenced Gauguin's decision to travel to Tahiti, was an immensely popular account of such a marriage twenty years earlier, although in that case the marriage was actually a fictional composite of many casual liaisons indulged by Loti during a two-month visit to Papeete. In Loti's account his wife was fourteen years old, while in Gauguin's account Teha'amana was just thirteen years old.The name Teha'amana is formed from the definite article te, the causative particle ha'a and the substantive mana ("strength"), and thus signifies "giver of strength", hence its frequent occurrence in ancient prayers and folklore. In his account of their idyll together, Gauguin described how in the evenings Teha'amana would recount their ancient myths as they lay in bed. Teha'amana was nevertheless a Christian, as evidenced by the missionary dress she wears in the portrait, and would have known nothing of Tahitian mythology. Bengt Danielsson, the Kon-Tiki anthropologist, notes that Teha'amana recounting the old myths is an especially barefaced fiction, because not only were these largely forgotten, they had always been withheld from women. All Gauguin's accounts of ancient Tahitian religion in Noa Noa were copied from other sources without adequate acknowledgement.Men took vahines for sexual and other practical advantages, such as gathering food supplies. This was because Tahitian families were self-sufficient in food. The staples of breadfruit and bananas were gathered high in the mountains on a weekly basis, while fish was abundant in the lagoons. Pigs were hunted in the undergrowth. As a consequence there was no trade in foodstuffs and offering food was regarded as an act of charity. Instead of gathering the food himself, Gauguin opted to take a vahine so that her family could provide for him. Having a vahine meant at least he had access to wild fruit and fresh shrimp gathered by her, as well as her own family's extensive food stores.Gauguin's account of Teha'amana in Noa Noa, where he refers to her as Tehura, is mainly confined to their marriage, contracted in a single afternoon in the course of a planned excursion round the island, and a few other episodes including notably the genesis of his painting Spirit of the Dead Watching. Danielsson was able to find some oral and civic sources in the course of his researches.Teha'amana's family came from Rarotonga, one of the Cook Islands. Before settling in Tahiti, they spent some time in Huahine, one of the Society Islands, where Teha'amana was born. In Tahiti they settled at Fa'aone, some fifteen miles to the east of Gauguin's bamboo hut at Mataiea, where Gauguin encountered them at some time during or after November 1891, taking Teha'amana as his vahine the same day.  No birth certificate is known to confirm her age, but it is likely she was only in her early teens, as were his two subsequent vahines. She was pregnant by August 1892 according to a letter of Gauguin's, but there is no further record of the child: Danielsson thought it had been aborted, Mathews thinks it more likely was adopted, as was commonly the custom in Tahitian society. Gauguin records Teha'amana was at the quay on 14 June 1893 to wish him a traditionally tearful departure from Tahiti. When Gauguin returned in 1895, Teha'amana had married again, but nevertheless spent a week with him before returning to her husband, according to a letter Gauguin sent Monfreid. Gauguin makes no further mention of Teha'amana. After his death, when he had become famous, Teha'amana made no effort to come forward as his vahine. Mathews thinks this may indicate there was in reality no single Teha'amana, or that she was simply indifferent to his memory as a matter of little consequence.After Gauguin left in 1893, Teha'amana remained in Mataiea, working at first for Chief Tetuanui, but soon marrying a young Tahitian boy, named Ma'ari, from neighbouring Papara. They had two sons, one of whom was still alive when Danielsson was researching Gauguin. From him, Danielsson gathered the information that the reason Teha'amana declined to live with Gauguin in 1895, despite generous gifts of bead necklaces and brass rings, was that she was repulsed by Gauguin and the syphilitic sores covering his entire body. Danielsson was able to locate a death certificate showing that Teha'amana died on 9 December 1918 in Mataiea from the Spanish flu epidemic that carried off a quarter of Tahiti's native population. She is buried in Mataiea, although her tombstone bears no indication of her relationship with Gauguin. A circa 1888 photograph of a young Tahitian girl by Charles Georges Spitz is often reproduced as one of Teha'amana, although Danielsson points out there is no evidence at all for the identification.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: In Merahi metua no Tehamana, how is the Teha'amana discussed?

Teha'amana was the native wife of Paul Gauguin during his first visit to Tahiti in 1891 to 1893. It was common at that time for French colonists to take native wives; the wives simply referred to as  vahine, Tahitian for "woman". These vahines were often underage children, as was the case with Teha'amana, their marriage being arranged by their family for reasons of status or financial advantage. The marriages were generally not legally binding. All three of Gauguin's vahines, the two he took after Teha'amana eventually returned home while Teha'amana herself declined to continue their relationship when Gauguin returned to Tahiti in 1895. Teha'amana undoubtedly saw herself as conventionally married according to her local customs, but for Gauguin the marriage was clearly a temporary arrangement. Nevertheless, he did profess a tender love for Teha'amana in his journal Noa Noa.   Pierre Loti's  Le Mariage de Loti, a book that influenced Gauguin's decision to travel to Tahiti, was an immensely popular account of such a marriage twenty years earlier, although in that case the marriage was actually a fictional composite of many casual liaisons indulged by Loti during a two-month visit to Papeete. In Loti's account his wife was fourteen years old, while in Gauguin's account Teha'amana was just thirteen years old.The name Teha'amana is formed from the definite article te, the causative particle ha'a and the substantive mana ("strength"), and thus signifies "giver of strength", hence its frequent occurrence in ancient prayers and folklore. In his account of their idyll together, Gauguin described how in the evenings Teha'amana would recount their ancient myths as they lay in bed. Teha'amana was nevertheless a Christian, as evidenced by the missionary dress she wears in the portrait, and would have known nothing of Tahitian mythology. Bengt Danielsson, the Kon-Tiki anthropologist, notes that Teha'amana recounting the old myths is an especially barefaced fiction, because not only were these largely forgotten, they had always been withheld from women. All Gauguin's accounts of ancient Tahitian religion in Noa Noa were copied from other sources without adequate acknowledgement.Men took vahines for sexual and other practical advantages, such as gathering food supplies. This was because Tahitian families were self-sufficient in food. The staples of breadfruit and bananas were gathered high in the mountains on a weekly basis, while fish was abundant in the lagoons. Pigs were hunted in the undergrowth. As a consequence there was no trade in foodstuffs and offering food was regarded as an act of charity. Instead of gathering the food himself, Gauguin opted to take a vahine so that her family could provide for him. Having a vahine meant at least he had access to wild fruit and fresh shrimp gathered by her, as well as her own family's extensive food stores.Gauguin's account of Teha'amana in Noa Noa, where he refers to her as Tehura, is mainly confined to their marriage, contracted in a single afternoon in the course of a planned excursion round the island, and a few other episodes including notably the genesis of his painting Spirit of the Dead Watching. Danielsson was able to find some oral and civic sources in the course of his researches.Teha'amana's family came from Rarotonga, one of the Cook Islands. Before settling in Tahiti, they spent some time in Huahine, one of the Society Islands, where Teha'amana was born. In Tahiti they settled at Fa'aone, some fifteen miles to the east of Gauguin's bamboo hut at Mataiea, where Gauguin encountered them at some time during or after November 1891, taking Teha'amana as his vahine the same day.  No birth certificate is known to confirm her age, but it is likely she was only in her early teens, as were his two subsequent vahines. She was pregnant by August 1892 according to a letter of Gauguin's, but there is no further record of the child: Danielsson thought it had been aborted, Mathews thinks it more likely was adopted, as was commonly the custom in Tahitian society. Gauguin records Teha'amana was at the quay on 14 June 1893 to wish him a traditionally tearful departure from Tahiti. When Gauguin returned in 1895, Teha'amana had married again, but nevertheless spent a week with him before returning to her husband, according to a letter Gauguin sent Monfreid. Gauguin makes no further mention of Teha'amana. After his death, when he had become famous, Teha'amana made no effort to come forward as his vahine. Mathews thinks this may indicate there was in reality no single Teha'amana, or that she was simply indifferent to his memory as a matter of little consequence.After Gauguin left in 1893, Teha'amana remained in Mataiea, working at first for Chief Tetuanui, but soon marrying a young Tahitian boy, named Ma'ari, from neighbouring Papara. They had two sons, one of whom was still alive when Danielsson was researching Gauguin. From him, Danielsson gathered the information that the reason Teha'amana declined to live with Gauguin in 1895, despite generous gifts of bead necklaces and brass rings, was that she was repulsed by Gauguin and the syphilitic sores covering his entire body. Danielsson was able to locate a death certificate showing that Teha'amana died on 9 December 1918 in Mataiea from the Spanish flu epidemic that carried off a quarter of Tahiti's native population. She is buried in Mataiea, although her tombstone bears no indication of her relationship with Gauguin. A circa 1888 photograph of a young Tahitian girl by Charles Georges Spitz is often reproduced as one of Teha'amana, although Danielsson points out there is no evidence at all for the identification.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Focus on Merahi metua no Tehamana and explain the Description.

The inscription below the idol reads "MERAHI METUA NO | TEHAMANA". This means "Teha'amana has many parents", a reference to Teha'amana possessing foster-parents as well as her natural parents in accordance with the faʼaʼamu Tahitian custom (Gauguin had to negotiate with both sets of parents when arranging the marriage). The placement of the inscription below the idol may also emphasise the belief that all Tahitians descended from the union of the ancient deities Hina and Ta'aroa.Danielsson thought the painting a farewell portrait, depicting Teha'amana in regal state dressed in her best churchgoing clothes and holding a plaited palm fan, a symbol of beauty. The red tiare flower she wears at her left ear signifies she is married. When he was researching his book, Danielsson showed a photograph of the portrait to a native, Puto'ura a Ta'iterafa'ato'a, fifteen years old in 1893 when the portrait was painted. Ta'iterafa'ato'a recognised Teha'amana at once, identifying the scar tissue above her right eye as the result of an accident she suffered when she was very young riding a pony, defying her parents. The portrait was bought in at Gauguin's 1895 Hôtel Drouot auction at only 300 francs and subsequently gifted to Daniel de Monfreid, Gauguin's great champion in Tahiti, suggesting it held sentimental value for Gauguin.Charles Stuckey remarks that the two ripe mangoes, placed on a low table to Teha'amana's right, probably represented the bounty of Tahiti, if not Teha'amana's fertility herself. The idol is taken to be a representation of Hina, borrowed from Hindu sculptures presenting the life-giving gesture. As a counterfoil, the heads that hover above each of Teha'amana's shoulders are evil spirits, suggesting a dialogue between good and evil or between life and death. The glyphs behind Teha'amana's head are Rongorongo glyphs from Easter Island, although Gauguin's examples are imaginary. These glyphs had been discovered scarcely thirty years earlier and Gauguin would have seen examples both at the Exposition Universelle of 1889 and in Papeete, where a local bishop researching them had a number of examples in his care. The glyphs have never been deciphered and Gauguin's intention was probably to emphasise the impenetrability of Tahitian culture. In his Noa Noa account, he remarked he found Teha'amana herself impenetrable, thus perhaps the Mona Lisa expression he gives her in the portrait.The portrait is closely based on a charcoal study and, taken together with the unduly short proportions of the arms, suggests the portrait may not have been painted directly from the model.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Explain the Description of this artwork, Merahi metua no Tehamana.

The inscription below the idol reads "MERAHI METUA NO | TEHAMANA". This means "Teha'amana has many parents", a reference to Teha'amana possessing foster-parents as well as her natural parents in accordance with the faʼaʼamu Tahitian custom (Gauguin had to negotiate with both sets of parents when arranging the marriage). The placement of the inscription below the idol may also emphasise the belief that all Tahitians descended from the union of the ancient deities Hina and Ta'aroa.Danielsson thought the painting a farewell portrait, depicting Teha'amana in regal state dressed in her best churchgoing clothes and holding a plaited palm fan, a symbol of beauty. The red tiare flower she wears at her left ear signifies she is married. When he was researching his book, Danielsson showed a photograph of the portrait to a native, Puto'ura a Ta'iterafa'ato'a, fifteen years old in 1893 when the portrait was painted. Ta'iterafa'ato'a recognised Teha'amana at once, identifying the scar tissue above her right eye as the result of an accident she suffered when she was very young riding a pony, defying her parents. The portrait was bought in at Gauguin's 1895 Hôtel Drouot auction at only 300 francs and subsequently gifted to Daniel de Monfreid, Gauguin's great champion in Tahiti, suggesting it held sentimental value for Gauguin.Charles Stuckey remarks that the two ripe mangoes, placed on a low table to Teha'amana's right, probably represented the bounty of Tahiti, if not Teha'amana's fertility herself. The idol is taken to be a representation of Hina, borrowed from Hindu sculptures presenting the life-giving gesture. As a counterfoil, the heads that hover above each of Teha'amana's shoulders are evil spirits, suggesting a dialogue between good and evil or between life and death. The glyphs behind Teha'amana's head are Rongorongo glyphs from Easter Island, although Gauguin's examples are imaginary. These glyphs had been discovered scarcely thirty years earlier and Gauguin would have seen examples both at the Exposition Universelle of 1889 and in Papeete, where a local bishop researching them had a number of examples in his care. The glyphs have never been deciphered and Gauguin's intention was probably to emphasise the impenetrability of Tahitian culture. In his Noa Noa account, he remarked he found Teha'amana herself impenetrable, thus perhaps the Mona Lisa expression he gives her in the portrait.The portrait is closely based on a charcoal study and, taken together with the unduly short proportions of the arms, suggests the portrait may not have been painted directly from the model.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: How does Merahi metua no Tehamana explain its Description?

The inscription below the idol reads "MERAHI METUA NO | TEHAMANA". This means "Teha'amana has many parents", a reference to Teha'amana possessing foster-parents as well as her natural parents in accordance with the faʼaʼamu Tahitian custom (Gauguin had to negotiate with both sets of parents when arranging the marriage). The placement of the inscription below the idol may also emphasise the belief that all Tahitians descended from the union of the ancient deities Hina and Ta'aroa.Danielsson thought the painting a farewell portrait, depicting Teha'amana in regal state dressed in her best churchgoing clothes and holding a plaited palm fan, a symbol of beauty. The red tiare flower she wears at her left ear signifies she is married. When he was researching his book, Danielsson showed a photograph of the portrait to a native, Puto'ura a Ta'iterafa'ato'a, fifteen years old in 1893 when the portrait was painted. Ta'iterafa'ato'a recognised Teha'amana at once, identifying the scar tissue above her right eye as the result of an accident she suffered when she was very young riding a pony, defying her parents. The portrait was bought in at Gauguin's 1895 Hôtel Drouot auction at only 300 francs and subsequently gifted to Daniel de Monfreid, Gauguin's great champion in Tahiti, suggesting it held sentimental value for Gauguin.Charles Stuckey remarks that the two ripe mangoes, placed on a low table to Teha'amana's right, probably represented the bounty of Tahiti, if not Teha'amana's fertility herself. The idol is taken to be a representation of Hina, borrowed from Hindu sculptures presenting the life-giving gesture. As a counterfoil, the heads that hover above each of Teha'amana's shoulders are evil spirits, suggesting a dialogue between good and evil or between life and death. The glyphs behind Teha'amana's head are Rongorongo glyphs from Easter Island, although Gauguin's examples are imaginary. These glyphs had been discovered scarcely thirty years earlier and Gauguin would have seen examples both at the Exposition Universelle of 1889 and in Papeete, where a local bishop researching them had a number of examples in his care. The glyphs have never been deciphered and Gauguin's intention was probably to emphasise the impenetrability of Tahitian culture. In his Noa Noa account, he remarked he found Teha'amana herself impenetrable, thus perhaps the Mona Lisa expression he gives her in the portrait.The portrait is closely based on a charcoal study and, taken together with the unduly short proportions of the arms, suggests the portrait may not have been painted directly from the model.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: In Merahi metua no Tehamana, how is the Description discussed?

The inscription below the idol reads "MERAHI METUA NO | TEHAMANA". This means "Teha'amana has many parents", a reference to Teha'amana possessing foster-parents as well as her natural parents in accordance with the faʼaʼamu Tahitian custom (Gauguin had to negotiate with both sets of parents when arranging the marriage). The placement of the inscription below the idol may also emphasise the belief that all Tahitians descended from the union of the ancient deities Hina and Ta'aroa.Danielsson thought the painting a farewell portrait, depicting Teha'amana in regal state dressed in her best churchgoing clothes and holding a plaited palm fan, a symbol of beauty. The red tiare flower she wears at her left ear signifies she is married. When he was researching his book, Danielsson showed a photograph of the portrait to a native, Puto'ura a Ta'iterafa'ato'a, fifteen years old in 1893 when the portrait was painted. Ta'iterafa'ato'a recognised Teha'amana at once, identifying the scar tissue above her right eye as the result of an accident she suffered when she was very young riding a pony, defying her parents. The portrait was bought in at Gauguin's 1895 Hôtel Drouot auction at only 300 francs and subsequently gifted to Daniel de Monfreid, Gauguin's great champion in Tahiti, suggesting it held sentimental value for Gauguin.Charles Stuckey remarks that the two ripe mangoes, placed on a low table to Teha'amana's right, probably represented the bounty of Tahiti, if not Teha'amana's fertility herself. The idol is taken to be a representation of Hina, borrowed from Hindu sculptures presenting the life-giving gesture. As a counterfoil, the heads that hover above each of Teha'amana's shoulders are evil spirits, suggesting a dialogue between good and evil or between life and death. The glyphs behind Teha'amana's head are Rongorongo glyphs from Easter Island, although Gauguin's examples are imaginary. These glyphs had been discovered scarcely thirty years earlier and Gauguin would have seen examples both at the Exposition Universelle of 1889 and in Papeete, where a local bishop researching them had a number of examples in his care. The glyphs have never been deciphered and Gauguin's intention was probably to emphasise the impenetrability of Tahitian culture. In his Noa Noa account, he remarked he found Teha'amana herself impenetrable, thus perhaps the Mona Lisa expression he gives her in the portrait.The portrait is closely based on a charcoal study and, taken together with the unduly short proportions of the arms, suggests the portrait may not have been painted directly from the model.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Focus on Merahi metua no Tehamana and explain the Other portraits.

The only other portrait known certainly to be of Teha'amana is a sculpted head in the form of a hollow mask in the Musée d'Orsay. The wood carving is curious because it carries a roughly hewn figure of Eve in its inside. Stuckey suggests this is a reference to the Edenic paradise Gauguin said he had found with Teha'amana, but observes also that Gauguin had questioned her fidelity in his Noa Noa account and suggests the figure might also represent fantasies on Teha'amana's part as Eve the temptress, the greens eyes of the polychromed head perhaps signifying jealousy.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Explain the Other portraits of this artwork, Merahi metua no Tehamana.

The only other portrait known certainly to be of Teha'amana is a sculpted head in the form of a hollow mask in the Musée d'Orsay. The wood carving is curious because it carries a roughly hewn figure of Eve in its inside. Stuckey suggests this is a reference to the Edenic paradise Gauguin said he had found with Teha'amana, but observes also that Gauguin had questioned her fidelity in his Noa Noa account and suggests the figure might also represent fantasies on Teha'amana's part as Eve the temptress, the greens eyes of the polychromed head perhaps signifying jealousy.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: How does Merahi metua no Tehamana explain its Other portraits?

The only other portrait known certainly to be of Teha'amana is a sculpted head in the form of a hollow mask in the Musée d'Orsay. The wood carving is curious because it carries a roughly hewn figure of Eve in its inside. Stuckey suggests this is a reference to the Edenic paradise Gauguin said he had found with Teha'amana, but observes also that Gauguin had questioned her fidelity in his Noa Noa account and suggests the figure might also represent fantasies on Teha'amana's part as Eve the temptress, the greens eyes of the polychromed head perhaps signifying jealousy.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: In Merahi metua no Tehamana, how is the Other portraits discussed?

The only other portrait known certainly to be of Teha'amana is a sculpted head in the form of a hollow mask in the Musée d'Orsay. The wood carving is curious because it carries a roughly hewn figure of Eve in its inside. Stuckey suggests this is a reference to the Edenic paradise Gauguin said he had found with Teha'amana, but observes also that Gauguin had questioned her fidelity in his Noa Noa account and suggests the figure might also represent fantasies on Teha'amana's part as Eve the temptress, the greens eyes of the polychromed head perhaps signifying jealousy.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Focus on Merahi metua no Tehamana and explain the References and sources.

ReferencesSourcesDanielsson, Bengt (1965). Gauguin in the South Seas. New York: Doubleday and Company.Danielsson, Bengt (1975). Gauguin à Tahiti et aux îles Marquises (in French). Agora. ISBN 2-266-02727-1.Gauguin, Paul; Morice, Charles (1901). Noa Noa: The Tahiti Journal of Paul Gauguin.Mathews, Nancy Mowll (2001). Paul Gauguin, an Erotic Life. New Haven, Connecticut: Yale University Press, ISBN 0-300-09109-5.Pollock, Griselda. Avant-Garde Gambits: Gender and the Colour of Art History, London: Thames and Hudson, 1993.Solomon-Godeau, Abigail. Going Native, Paul Gauguin and the Invention of the Primitivist Modernist. The Expanding Discourse: Feminism and Art History. 1st ed. Boulder, CO: WestView, 1992. 313-329Stuckey, Charles F. (1988). "The First Tahitian Years". The Art of Paul Gauguin. with Peter Zegers. National Gallery of Art. pp. 224–5, 273–4, 288–9. ISBN 0-8212-1723-2. LCCN 88-81005.Thomson, Belinda (1987). Gauguin. London: Thames and Hudson. ISBN 0-500-20220-6.Taylor, Sue. "Oviri: Gauguin's savage woman". Journal of Art History, Volume 62, Issue 3/4, 1993. 197–220.Wadley, Nicholas (1985). Noa Noa: Gauguin's Tahiti, London: Phaidon Press. ISBN 0-7148-2375-9.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: Explain the References and sources of this artwork, Merahi metua no Tehamana.

ReferencesSourcesDanielsson, Bengt (1965). Gauguin in the South Seas. New York: Doubleday and Company.Danielsson, Bengt (1975). Gauguin à Tahiti et aux îles Marquises (in French). Agora. ISBN 2-266-02727-1.Gauguin, Paul; Morice, Charles (1901). Noa Noa: The Tahiti Journal of Paul Gauguin.Mathews, Nancy Mowll (2001). Paul Gauguin, an Erotic Life. New Haven, Connecticut: Yale University Press, ISBN 0-300-09109-5.Pollock, Griselda. Avant-Garde Gambits: Gender and the Colour of Art History, London: Thames and Hudson, 1993.Solomon-Godeau, Abigail. Going Native, Paul Gauguin and the Invention of the Primitivist Modernist. The Expanding Discourse: Feminism and Art History. 1st ed. Boulder, CO: WestView, 1992. 313-329Stuckey, Charles F. (1988). "The First Tahitian Years". The Art of Paul Gauguin. with Peter Zegers. National Gallery of Art. pp. 224–5, 273–4, 288–9. ISBN 0-8212-1723-2. LCCN 88-81005.Thomson, Belinda (1987). Gauguin. London: Thames and Hudson. ISBN 0-500-20220-6.Taylor, Sue. "Oviri: Gauguin's savage woman". Journal of Art History, Volume 62, Issue 3/4, 1993. 197–220.Wadley, Nicholas (1985). Noa Noa: Gauguin's Tahiti, London: Phaidon Press. ISBN 0-7148-2375-9.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: How does Merahi metua no Tehamana explain its References and sources?

ReferencesSourcesDanielsson, Bengt (1965). Gauguin in the South Seas. New York: Doubleday and Company.Danielsson, Bengt (1975). Gauguin à Tahiti et aux îles Marquises (in French). Agora. ISBN 2-266-02727-1.Gauguin, Paul; Morice, Charles (1901). Noa Noa: The Tahiti Journal of Paul Gauguin.Mathews, Nancy Mowll (2001). Paul Gauguin, an Erotic Life. New Haven, Connecticut: Yale University Press, ISBN 0-300-09109-5.Pollock, Griselda. Avant-Garde Gambits: Gender and the Colour of Art History, London: Thames and Hudson, 1993.Solomon-Godeau, Abigail. Going Native, Paul Gauguin and the Invention of the Primitivist Modernist. The Expanding Discourse: Feminism and Art History. 1st ed. Boulder, CO: WestView, 1992. 313-329Stuckey, Charles F. (1988). "The First Tahitian Years". The Art of Paul Gauguin. with Peter Zegers. National Gallery of Art. pp. 224–5, 273–4, 288–9. ISBN 0-8212-1723-2. LCCN 88-81005.Thomson, Belinda (1987). Gauguin. London: Thames and Hudson. ISBN 0-500-20220-6.Taylor, Sue. "Oviri: Gauguin's savage woman". Journal of Art History, Volume 62, Issue 3/4, 1993. 197–220.Wadley, Nicholas (1985). Noa Noa: Gauguin's Tahiti, London: Phaidon Press. ISBN 0-7148-2375-9.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Merahi metua no Tehamana

Prompt: In Merahi metua no Tehamana, how is the References and sources discussed?

ReferencesSourcesDanielsson, Bengt (1965). Gauguin in the South Seas. New York: Doubleday and Company.Danielsson, Bengt (1975). Gauguin à Tahiti et aux îles Marquises (in French). Agora. ISBN 2-266-02727-1.Gauguin, Paul; Morice, Charles (1901). Noa Noa: The Tahiti Journal of Paul Gauguin.Mathews, Nancy Mowll (2001). Paul Gauguin, an Erotic Life. New Haven, Connecticut: Yale University Press, ISBN 0-300-09109-5.Pollock, Griselda. Avant-Garde Gambits: Gender and the Colour of Art History, London: Thames and Hudson, 1993.Solomon-Godeau, Abigail. Going Native, Paul Gauguin and the Invention of the Primitivist Modernist. The Expanding Discourse: Feminism and Art History. 1st ed. Boulder, CO: WestView, 1992. 313-329Stuckey, Charles F. (1988). "The First Tahitian Years". The Art of Paul Gauguin. with Peter Zegers. National Gallery of Art. pp. 224–5, 273–4, 288–9. ISBN 0-8212-1723-2. LCCN 88-81005.Thomson, Belinda (1987). Gauguin. London: Thames and Hudson. ISBN 0-500-20220-6.Taylor, Sue. "Oviri: Gauguin's savage woman". Journal of Art History, Volume 62, Issue 3/4, 1993. 197–220.Wadley, Nicholas (1985). Noa Noa: Gauguin's Tahiti, London: Phaidon Press. ISBN 0-7148-2375-9.

1918 flu pandemic#Devastated communities

File:Paul Gauguin - Portrait of Tehamana (verso) - AIC 1956.1215.jpg

File:Charles Georges Spitz - Tahitian woman.jpg

A photograph by Charles Georges Spitz ''circa'' 1888 often reproduced as a portrait of Teha'amana, although there is no evidence for the identification.

Charcoal study, ''c.'' 1891–3, [[Art Institute of Chicago

:File:Paul Gauguin, ca.1891-1893, Tehura (Teha'amana), polychromed pua wood, H. 22.2 cm. Realized during Gauguin's first voyage to Tahiti. Musée d'Orsay, Paris.jpg

Sculpted head, wood carving, circa 1892, [[Musée d'Orsay

Category:Paintings in the Art Institute of Chicago


Honeysuckle Bower

Prompt: Focus on Honeysuckle Bower and explain the abstract.

The Honeysuckle Bower  is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands (dextrarum iunctio), and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Explain the abstract of this artwork, Honeysuckle Bower.

The Honeysuckle Bower  is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands (dextrarum iunctio), and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: How does Honeysuckle Bower explain its abstract?

The Honeysuckle Bower  is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands (dextrarum iunctio), and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: In Honeysuckle Bower, how is the abstract discussed?

The Honeysuckle Bower  is a self-portrait of the Flemish Baroque painter Peter Paul Rubens and his first wife Isabella Brant, executed c. 1609.The couple is seated in fine clothes within a garden composition and a vine of honeysuckle is placed overhead. The symbolism of the double-portrait alludes to meanings of love and marriage, such as the holding of right hands (dextrarum iunctio), and the concept of the garden of love. The pose of the two figures and their fine clothing signify self-fashioning by Rubens. They wed in 1609, the same year that work was created; it was ultimately given to Isabella’s father Jan Brant and would later end up in the collection of Johann Wilhem II of Düsseldorf. The couple would be married for seventeen years, and have three children before Isabella died in 1625. Her death would have a profound impact on Rubens and through his loss he created an posthumous portrait.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Focus on Honeysuckle Bower and explain the Description.

The painting is a full-length double portrait of the couple seated in a bower (wikt), also called an arbor of honeysuckle. The couple is dressed in fine clothing of an aristocratic class within this portrait while also maintaining a casual and adoring pose. They are surrounded by love and marriage symbolism: the honeysuckle and garden are both traditional symbols of love, and the holding of right hands (junctio dextrarum) represents union through marriage.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Explain the Description of this artwork, Honeysuckle Bower.

The painting is a full-length double portrait of the couple seated in a bower (wikt), also called an arbor of honeysuckle. The couple is dressed in fine clothing of an aristocratic class within this portrait while also maintaining a casual and adoring pose. They are surrounded by love and marriage symbolism: the honeysuckle and garden are both traditional symbols of love, and the holding of right hands (junctio dextrarum) represents union through marriage.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: How does Honeysuckle Bower explain its Description?

The painting is a full-length double portrait of the couple seated in a bower (wikt), also called an arbor of honeysuckle. The couple is dressed in fine clothing of an aristocratic class within this portrait while also maintaining a casual and adoring pose. They are surrounded by love and marriage symbolism: the honeysuckle and garden are both traditional symbols of love, and the holding of right hands (junctio dextrarum) represents union through marriage.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: In Honeysuckle Bower, how is the Description discussed?

The painting is a full-length double portrait of the couple seated in a bower (wikt), also called an arbor of honeysuckle. The couple is dressed in fine clothing of an aristocratic class within this portrait while also maintaining a casual and adoring pose. They are surrounded by love and marriage symbolism: the honeysuckle and garden are both traditional symbols of love, and the holding of right hands (junctio dextrarum) represents union through marriage.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: In the context of Honeysuckle Bower, explain the Symbolism and the Description.

The honeysuckle plant has had various meanings over the years. Most notably, the meaning that is still associated with the flower, began in the Middle Ages. The overall qualities that the honeysuckle plant symbolized was the idea of lasting pleasure; it also had meanings of steadfastness and permanence. This became a typical symbol found in paintings in the time of Rubens.The Garden of Love was a popular literary concept and symbol around the same time that the painting was created. The initial concept may have come from symbols of paradise that were present in medieval cloister gardens. Another element that may have influenced this was Roman de la Rose, as well as the role of the garden in aristocratic society. In these scenes, women depicted as objects of admiration by their suitors and the garden is full of joyfulness and music.In this painting Rubens and Isabella join their rights hands in an act of Dextrarum iunctio. Dextrarum iunctio was the ceremony of joining the right hands of a couple together, and it has ancient Roman origins. This symbol most likely referred to the idea of harmony within the marriage of Rubens and Isabella. Additionally, Rubens depicts himself as an aristocratic gentleman with his left hand on the hilt of his sword. The sword is an important piece in Ruben’s noble portrayal here, since the carrying of a sword was a symbol only permitted to those of the elite class. Rubens gained permission when he became the court painter for governors of the Netherlands.The symbols found within the artwork point to self-fashioning by Rubens, because of the aristocratic portrayal and symbolism. This can be seen in the orange silk stockings, the bejeweled hat on his head, and the collar around his neckline. One detail to note is the unbuttoned collar which signifies a marriage formed through an intellectual match. In her left hand, symbolizing both her gentility and femininity, Isabella holds a fan.The pose of the two figures is more casual and modest compared to the noble clothing that they are wearing. Isabella is seated on the ground and recalls the Madonna of Humility, thus constructing an image as a virtuous wife. At the same time, the pose that Rubens constructs Isabella in also displays his attention to her and his overall devotion as a husband.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Explain the Symbolism about the Description of this artwork, Honeysuckle Bower.

The honeysuckle plant has had various meanings over the years. Most notably, the meaning that is still associated with the flower, began in the Middle Ages. The overall qualities that the honeysuckle plant symbolized was the idea of lasting pleasure; it also had meanings of steadfastness and permanence. This became a typical symbol found in paintings in the time of Rubens.The Garden of Love was a popular literary concept and symbol around the same time that the painting was created. The initial concept may have come from symbols of paradise that were present in medieval cloister gardens. Another element that may have influenced this was Roman de la Rose, as well as the role of the garden in aristocratic society. In these scenes, women depicted as objects of admiration by their suitors and the garden is full of joyfulness and music.In this painting Rubens and Isabella join their rights hands in an act of Dextrarum iunctio. Dextrarum iunctio was the ceremony of joining the right hands of a couple together, and it has ancient Roman origins. This symbol most likely referred to the idea of harmony within the marriage of Rubens and Isabella. Additionally, Rubens depicts himself as an aristocratic gentleman with his left hand on the hilt of his sword. The sword is an important piece in Ruben’s noble portrayal here, since the carrying of a sword was a symbol only permitted to those of the elite class. Rubens gained permission when he became the court painter for governors of the Netherlands.The symbols found within the artwork point to self-fashioning by Rubens, because of the aristocratic portrayal and symbolism. This can be seen in the orange silk stockings, the bejeweled hat on his head, and the collar around his neckline. One detail to note is the unbuttoned collar which signifies a marriage formed through an intellectual match. In her left hand, symbolizing both her gentility and femininity, Isabella holds a fan.The pose of the two figures is more casual and modest compared to the noble clothing that they are wearing. Isabella is seated on the ground and recalls the Madonna of Humility, thus constructing an image as a virtuous wife. At the same time, the pose that Rubens constructs Isabella in also displays his attention to her and his overall devotion as a husband.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: In Honeysuckle Bower, how is the Symbolism of the Description explained?

The honeysuckle plant has had various meanings over the years. Most notably, the meaning that is still associated with the flower, began in the Middle Ages. The overall qualities that the honeysuckle plant symbolized was the idea of lasting pleasure; it also had meanings of steadfastness and permanence. This became a typical symbol found in paintings in the time of Rubens.The Garden of Love was a popular literary concept and symbol around the same time that the painting was created. The initial concept may have come from symbols of paradise that were present in medieval cloister gardens. Another element that may have influenced this was Roman de la Rose, as well as the role of the garden in aristocratic society. In these scenes, women depicted as objects of admiration by their suitors and the garden is full of joyfulness and music.In this painting Rubens and Isabella join their rights hands in an act of Dextrarum iunctio. Dextrarum iunctio was the ceremony of joining the right hands of a couple together, and it has ancient Roman origins. This symbol most likely referred to the idea of harmony within the marriage of Rubens and Isabella. Additionally, Rubens depicts himself as an aristocratic gentleman with his left hand on the hilt of his sword. The sword is an important piece in Ruben’s noble portrayal here, since the carrying of a sword was a symbol only permitted to those of the elite class. Rubens gained permission when he became the court painter for governors of the Netherlands.The symbols found within the artwork point to self-fashioning by Rubens, because of the aristocratic portrayal and symbolism. This can be seen in the orange silk stockings, the bejeweled hat on his head, and the collar around his neckline. One detail to note is the unbuttoned collar which signifies a marriage formed through an intellectual match. In her left hand, symbolizing both her gentility and femininity, Isabella holds a fan.The pose of the two figures is more casual and modest compared to the noble clothing that they are wearing. Isabella is seated on the ground and recalls the Madonna of Humility, thus constructing an image as a virtuous wife. At the same time, the pose that Rubens constructs Isabella in also displays his attention to her and his overall devotion as a husband.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Describe the characteristics of the Symbolism in Honeysuckle Bower's Description.

The honeysuckle plant has had various meanings over the years. Most notably, the meaning that is still associated with the flower, began in the Middle Ages. The overall qualities that the honeysuckle plant symbolized was the idea of lasting pleasure; it also had meanings of steadfastness and permanence. This became a typical symbol found in paintings in the time of Rubens.The Garden of Love was a popular literary concept and symbol around the same time that the painting was created. The initial concept may have come from symbols of paradise that were present in medieval cloister gardens. Another element that may have influenced this was Roman de la Rose, as well as the role of the garden in aristocratic society. In these scenes, women depicted as objects of admiration by their suitors and the garden is full of joyfulness and music.In this painting Rubens and Isabella join their rights hands in an act of Dextrarum iunctio. Dextrarum iunctio was the ceremony of joining the right hands of a couple together, and it has ancient Roman origins. This symbol most likely referred to the idea of harmony within the marriage of Rubens and Isabella. Additionally, Rubens depicts himself as an aristocratic gentleman with his left hand on the hilt of his sword. The sword is an important piece in Ruben’s noble portrayal here, since the carrying of a sword was a symbol only permitted to those of the elite class. Rubens gained permission when he became the court painter for governors of the Netherlands.The symbols found within the artwork point to self-fashioning by Rubens, because of the aristocratic portrayal and symbolism. This can be seen in the orange silk stockings, the bejeweled hat on his head, and the collar around his neckline. One detail to note is the unbuttoned collar which signifies a marriage formed through an intellectual match. In her left hand, symbolizing both her gentility and femininity, Isabella holds a fan.The pose of the two figures is more casual and modest compared to the noble clothing that they are wearing. Isabella is seated on the ground and recalls the Madonna of Humility, thus constructing an image as a virtuous wife. At the same time, the pose that Rubens constructs Isabella in also displays his attention to her and his overall devotion as a husband.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: In the context of Honeysuckle Bower, explain the Historical context and the Description.

They wed on 3 October 1609, in St. Michael's Abbey, Antwerp, shortly after he had returned to the city after eight years in Italy. Rubens was thirty-two and Isabella Brant was eighteen at the time, they would go on to have three children together and seventeen years of marriage, before Isabella died in 1625. Most likely she died from the bubonic plague. When Isabella died, Rubens was tremendously impacted and wrote letters and crafted a posthumous portrait of her. Within this portrait, Rubens, gives the lasting message of eternal friendship and love. Rubens remarked in a letter to Pierre Dupuy in July of 1626 about this profound loss:  “... Truly I have lost an excellent companion, whom one could love - indeed had to love, with good reason - as having none of the faults of her sex. She had no capricious moods, and no feminine weak: ness, but was all goodness and honesty. And because of her virtues she was loved during her lifetime, and mourned by all at her death. Such a loss seems to me worthy of deep feeling, and since the true remedy for all ills is Forgetfulness, daughter of Time, I must without doubt look to her for help. But I find it very hard to separate grief for this loss from the memory of a person whom I must love and cherish as long as I live…”  Other important historical contexts contributed to the meaning of this double portrait, including the popular art theories and books at the time, mainly, the concept of liefde baart kunst and the use of emblem books in the construction of this painting by Rubens.The idea of topos liefde baart kunst in art was a major component of art theory in the Netherlands at this time. This essentially translates to “love begets art,” meaning that art develops from love; this idea of love is very important in the realm of the artist. This idea was expressed as the love of art and or God; it also combines two types of love, conjugal and erotic. In other words, this concept explored the idea of a muse and model relationship with the artist.This particular artwork by Rubens is one example of this concept illustrated in painting, specifically the idea of the wife or spouse as the model and that relationship in tales.The idea of marriage was also an important concept for Rubens and other artists of this period as it symbolized a moral and respectable person. Rubens may have been influenced by a notable and popular emblem book about the “domestication of love,” titled, Amorum Emblemata (1608) by Otto van Veen. Also of note that the author of this emblem book was Rubens’ teacher, and thus had a large influence on him. Amorum Emblemata was created in multiple-language issues, such as Latin-Italian-French, Latin-English-Italian, Latin-Dutch-French. Each version of the book had essentially the same basic information of mottos and quotations in Latin; also included in these books were the same printed images. While not the first compiler of emblems van Veen, added elements which further extended the popularity of the genre. The central message by van Veen, which was delivered by Cupid, was the supremacy of love and important of marriage and love. The composition of this piece also pulled from a emblem book, titled Emblematum liber by Andrea Alciato; specifically, the motto and printed image of In fidem uxorium (conjugal fidelity).

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Explain the Historical context about the Description of this artwork, Honeysuckle Bower.

They wed on 3 October 1609, in St. Michael's Abbey, Antwerp, shortly after he had returned to the city after eight years in Italy. Rubens was thirty-two and Isabella Brant was eighteen at the time, they would go on to have three children together and seventeen years of marriage, before Isabella died in 1625. Most likely she died from the bubonic plague. When Isabella died, Rubens was tremendously impacted and wrote letters and crafted a posthumous portrait of her. Within this portrait, Rubens, gives the lasting message of eternal friendship and love. Rubens remarked in a letter to Pierre Dupuy in July of 1626 about this profound loss:  “... Truly I have lost an excellent companion, whom one could love - indeed had to love, with good reason - as having none of the faults of her sex. She had no capricious moods, and no feminine weak: ness, but was all goodness and honesty. And because of her virtues she was loved during her lifetime, and mourned by all at her death. Such a loss seems to me worthy of deep feeling, and since the true remedy for all ills is Forgetfulness, daughter of Time, I must without doubt look to her for help. But I find it very hard to separate grief for this loss from the memory of a person whom I must love and cherish as long as I live…”  Other important historical contexts contributed to the meaning of this double portrait, including the popular art theories and books at the time, mainly, the concept of liefde baart kunst and the use of emblem books in the construction of this painting by Rubens.The idea of topos liefde baart kunst in art was a major component of art theory in the Netherlands at this time. This essentially translates to “love begets art,” meaning that art develops from love; this idea of love is very important in the realm of the artist. This idea was expressed as the love of art and or God; it also combines two types of love, conjugal and erotic. In other words, this concept explored the idea of a muse and model relationship with the artist.This particular artwork by Rubens is one example of this concept illustrated in painting, specifically the idea of the wife or spouse as the model and that relationship in tales.The idea of marriage was also an important concept for Rubens and other artists of this period as it symbolized a moral and respectable person. Rubens may have been influenced by a notable and popular emblem book about the “domestication of love,” titled, Amorum Emblemata (1608) by Otto van Veen. Also of note that the author of this emblem book was Rubens’ teacher, and thus had a large influence on him. Amorum Emblemata was created in multiple-language issues, such as Latin-Italian-French, Latin-English-Italian, Latin-Dutch-French. Each version of the book had essentially the same basic information of mottos and quotations in Latin; also included in these books were the same printed images. While not the first compiler of emblems van Veen, added elements which further extended the popularity of the genre. The central message by van Veen, which was delivered by Cupid, was the supremacy of love and important of marriage and love. The composition of this piece also pulled from a emblem book, titled Emblematum liber by Andrea Alciato; specifically, the motto and printed image of In fidem uxorium (conjugal fidelity).

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: In Honeysuckle Bower, how is the Historical context of the Description explained?

They wed on 3 October 1609, in St. Michael's Abbey, Antwerp, shortly after he had returned to the city after eight years in Italy. Rubens was thirty-two and Isabella Brant was eighteen at the time, they would go on to have three children together and seventeen years of marriage, before Isabella died in 1625. Most likely she died from the bubonic plague. When Isabella died, Rubens was tremendously impacted and wrote letters and crafted a posthumous portrait of her. Within this portrait, Rubens, gives the lasting message of eternal friendship and love. Rubens remarked in a letter to Pierre Dupuy in July of 1626 about this profound loss:  “... Truly I have lost an excellent companion, whom one could love - indeed had to love, with good reason - as having none of the faults of her sex. She had no capricious moods, and no feminine weak: ness, but was all goodness and honesty. And because of her virtues she was loved during her lifetime, and mourned by all at her death. Such a loss seems to me worthy of deep feeling, and since the true remedy for all ills is Forgetfulness, daughter of Time, I must without doubt look to her for help. But I find it very hard to separate grief for this loss from the memory of a person whom I must love and cherish as long as I live…”  Other important historical contexts contributed to the meaning of this double portrait, including the popular art theories and books at the time, mainly, the concept of liefde baart kunst and the use of emblem books in the construction of this painting by Rubens.The idea of topos liefde baart kunst in art was a major component of art theory in the Netherlands at this time. This essentially translates to “love begets art,” meaning that art develops from love; this idea of love is very important in the realm of the artist. This idea was expressed as the love of art and or God; it also combines two types of love, conjugal and erotic. In other words, this concept explored the idea of a muse and model relationship with the artist.This particular artwork by Rubens is one example of this concept illustrated in painting, specifically the idea of the wife or spouse as the model and that relationship in tales.The idea of marriage was also an important concept for Rubens and other artists of this period as it symbolized a moral and respectable person. Rubens may have been influenced by a notable and popular emblem book about the “domestication of love,” titled, Amorum Emblemata (1608) by Otto van Veen. Also of note that the author of this emblem book was Rubens’ teacher, and thus had a large influence on him. Amorum Emblemata was created in multiple-language issues, such as Latin-Italian-French, Latin-English-Italian, Latin-Dutch-French. Each version of the book had essentially the same basic information of mottos and quotations in Latin; also included in these books were the same printed images. While not the first compiler of emblems van Veen, added elements which further extended the popularity of the genre. The central message by van Veen, which was delivered by Cupid, was the supremacy of love and important of marriage and love. The composition of this piece also pulled from a emblem book, titled Emblematum liber by Andrea Alciato; specifically, the motto and printed image of In fidem uxorium (conjugal fidelity).

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Describe the characteristics of the Historical context in Honeysuckle Bower's Description.

They wed on 3 October 1609, in St. Michael's Abbey, Antwerp, shortly after he had returned to the city after eight years in Italy. Rubens was thirty-two and Isabella Brant was eighteen at the time, they would go on to have three children together and seventeen years of marriage, before Isabella died in 1625. Most likely she died from the bubonic plague. When Isabella died, Rubens was tremendously impacted and wrote letters and crafted a posthumous portrait of her. Within this portrait, Rubens, gives the lasting message of eternal friendship and love. Rubens remarked in a letter to Pierre Dupuy in July of 1626 about this profound loss:  “... Truly I have lost an excellent companion, whom one could love - indeed had to love, with good reason - as having none of the faults of her sex. She had no capricious moods, and no feminine weak: ness, but was all goodness and honesty. And because of her virtues she was loved during her lifetime, and mourned by all at her death. Such a loss seems to me worthy of deep feeling, and since the true remedy for all ills is Forgetfulness, daughter of Time, I must without doubt look to her for help. But I find it very hard to separate grief for this loss from the memory of a person whom I must love and cherish as long as I live…”  Other important historical contexts contributed to the meaning of this double portrait, including the popular art theories and books at the time, mainly, the concept of liefde baart kunst and the use of emblem books in the construction of this painting by Rubens.The idea of topos liefde baart kunst in art was a major component of art theory in the Netherlands at this time. This essentially translates to “love begets art,” meaning that art develops from love; this idea of love is very important in the realm of the artist. This idea was expressed as the love of art and or God; it also combines two types of love, conjugal and erotic. In other words, this concept explored the idea of a muse and model relationship with the artist.This particular artwork by Rubens is one example of this concept illustrated in painting, specifically the idea of the wife or spouse as the model and that relationship in tales.The idea of marriage was also an important concept for Rubens and other artists of this period as it symbolized a moral and respectable person. Rubens may have been influenced by a notable and popular emblem book about the “domestication of love,” titled, Amorum Emblemata (1608) by Otto van Veen. Also of note that the author of this emblem book was Rubens’ teacher, and thus had a large influence on him. Amorum Emblemata was created in multiple-language issues, such as Latin-Italian-French, Latin-English-Italian, Latin-Dutch-French. Each version of the book had essentially the same basic information of mottos and quotations in Latin; also included in these books were the same printed images. While not the first compiler of emblems van Veen, added elements which further extended the popularity of the genre. The central message by van Veen, which was delivered by Cupid, was the supremacy of love and important of marriage and love. The composition of this piece also pulled from a emblem book, titled Emblematum liber by Andrea Alciato; specifically, the motto and printed image of In fidem uxorium (conjugal fidelity).

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Focus on Honeysuckle Bower and explain the Provenance.

The artwork was given to Isabella Brant’s father, Jan Brant after the two married in 1609. Around the 18th-century the painting ended up in the gallery collection of Johann Wilhelm II von der Pfalz in Düsseldorf. Later on, Honeysuckle Bower and other paintings by Rubens in the Düsseldorf Collection were given to the Alte Pinakothek museum in Munich as a form of inheritance in 1805.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: Explain the Provenance of this artwork, Honeysuckle Bower.

The artwork was given to Isabella Brant’s father, Jan Brant after the two married in 1609. Around the 18th-century the painting ended up in the gallery collection of Johann Wilhelm II von der Pfalz in Düsseldorf. Later on, Honeysuckle Bower and other paintings by Rubens in the Düsseldorf Collection were given to the Alte Pinakothek museum in Munich as a form of inheritance in 1805.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: How does Honeysuckle Bower explain its Provenance?

The artwork was given to Isabella Brant’s father, Jan Brant after the two married in 1609. Around the 18th-century the painting ended up in the gallery collection of Johann Wilhelm II von der Pfalz in Düsseldorf. Later on, Honeysuckle Bower and other paintings by Rubens in the Düsseldorf Collection were given to the Alte Pinakothek museum in Munich as a form of inheritance in 1805.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Honeysuckle Bower

Prompt: In Honeysuckle Bower, how is the Provenance discussed?

The artwork was given to Isabella Brant’s father, Jan Brant after the two married in 1609. Around the 18th-century the painting ended up in the gallery collection of Johann Wilhelm II von der Pfalz in Düsseldorf. Later on, Honeysuckle Bower and other paintings by Rubens in the Düsseldorf Collection were given to the Alte Pinakothek museum in Munich as a form of inheritance in 1805.

File:Peter Paul Rubens - Isabella Brandt - WGA20371.jpg

Category:Collection of the Alte Pinakothek


Disputation of the Holy Sacrament

Prompt: Focus on Disputation of the Holy Sacrament and explain the abstract.

The Disputation of the Sacrament (Italian: La disputa del sacramento), or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.  At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

Image:Raffaello, Disputa, dettaglio Dante, Stanza della Signatura, Palazzo Pontifici, Vaticano.jpg


Disputation of the Holy Sacrament

Prompt: Explain the abstract of this artwork, Disputation of the Holy Sacrament.

The Disputation of the Sacrament (Italian: La disputa del sacramento), or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.  At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

Image:Raffaello, Disputa, dettaglio Dante, Stanza della Signatura, Palazzo Pontifici, Vaticano.jpg


Disputation of the Holy Sacrament

Prompt: How does Disputation of the Holy Sacrament explain its abstract?

The Disputation of the Sacrament (Italian: La disputa del sacramento), or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.  At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

Image:Raffaello, Disputa, dettaglio Dante, Stanza della Signatura, Palazzo Pontifici, Vaticano.jpg


Disputation of the Holy Sacrament

Prompt: In Disputation of the Holy Sacrament, how is the abstract discussed?

The Disputation of the Sacrament (Italian: La disputa del sacramento), or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.  At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

Image:Raffaello, Disputa, dettaglio Dante, Stanza della Signatura, Palazzo Pontifici, Vaticano.jpg


Disputation of the Holy Sacrament

Prompt: Focus on Disputation of the Holy Sacrament and explain the Description.

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left (an arrangement known as the Deësis). Other various biblical figures such as Peter (far left, holding keys), Adam (far left, bared chest), John the Evangelist (left, writing), King David (left, holding lyre), Saint Lawrence (left, wearing purple), Judas Maccabeus (right, wearing gold armor), Stephen (right, wearing green), Moses (right, with horns of light and holding the Ten Commandments), James the Elder (right, wearing white), Abraham (right, holding knife), and Paul (far right, holding book and sword) are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation (Christ's presence in the Eucharist). Among them are the original four Doctors of the Church (identified by their names inscribed into their halos), with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath (symbolizing his greatness as a poet). Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico. In the background on the left, a church is being constructed, representative of the Catholic Church.

Image:Raffaello, Disputa, dettaglio Dante, Stanza della Signatura, Palazzo Pontifici, Vaticano.jpg


Disputation of the Holy Sacrament

Prompt: Explain the Description of this artwork, Disputation of the Holy Sacrament.

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left (an arrangement known as the Deësis). Other various biblical figures such as Peter (far left, holding keys), Adam (far left, bared chest), John the Evangelist (left, writing), King David (left, holding lyre), Saint Lawrence (left, wearing purple), Judas Maccabeus (right, wearing gold armor), Stephen (right, wearing green), Moses (right, with horns of light and holding the Ten Commandments), James the Elder (right, wearing white), Abraham (right, holding knife), and Paul (far right, holding book and sword) are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation (Christ's presence in the Eucharist). Among them are the original four Doctors of the Church (identified by their names inscribed into their halos), with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath (symbolizing his greatness as a poet). Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico. In the background on the left, a church is being constructed, representative of the Catholic Church.

Image:Raffaello, Disputa, dettaglio Dante, Stanza della Signatura, Palazzo Pontifici, Vaticano.jpg


Disputation of the Holy Sacrament

Prompt: How does Disputation of the Holy Sacrament explain its Description?

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left (an arrangement known as the Deësis). Other various biblical figures such as Peter (far left, holding keys), Adam (far left, bared chest), John the Evangelist (left, writing), King David (left, holding lyre), Saint Lawrence (left, wearing purple), Judas Maccabeus (right, wearing gold armor), Stephen (right, wearing green), Moses (right, with horns of light and holding the Ten Commandments), James the Elder (right, wearing white), Abraham (right, holding knife), and Paul (far right, holding book and sword) are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation (Christ's presence in the Eucharist). Among them are the original four Doctors of the Church (identified by their names inscribed into their halos), with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath (symbolizing his greatness as a poet). Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico. In the background on the left, a church is being constructed, representative of the Catholic Church.

Image:Raffaello, Disputa, dettaglio Dante, Stanza della Signatura, Palazzo Pontifici, Vaticano.jpg


Disputation of the Holy Sacrament

Prompt: In Disputation of the Holy Sacrament, how is the Description discussed?

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left (an arrangement known as the Deësis). Other various biblical figures such as Peter (far left, holding keys), Adam (far left, bared chest), John the Evangelist (left, writing), King David (left, holding lyre), Saint Lawrence (left, wearing purple), Judas Maccabeus (right, wearing gold armor), Stephen (right, wearing green), Moses (right, with horns of light and holding the Ten Commandments), James the Elder (right, wearing white), Abraham (right, holding knife), and Paul (far right, holding book and sword) are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation (Christ's presence in the Eucharist). Among them are the original four Doctors of the Church (identified by their names inscribed into their halos), with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath (symbolizing his greatness as a poet). Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico. In the background on the left, a church is being constructed, representative of the Catholic Church.

Image:Raffaello, Disputa, dettaglio Dante, Stanza della Signatura, Palazzo Pontifici, Vaticano.jpg


The Three Philosophers

Prompt: Focus on The Three Philosophers and explain the abstract.

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg


The Three Philosophers

Prompt: Explain the abstract of this artwork, The Three Philosophers.

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg


The Three Philosophers

Prompt: How does The Three Philosophers explain its abstract?

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg


The Three Philosophers

Prompt: In The Three Philosophers, how is the abstract discussed?

The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a "new infrared reflectogram lends no support to the theory".

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg


The Three Philosophers

Prompt: Focus on The Three Philosophers and explain the Description.

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel (1484–1552), who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg


The Three Philosophers

Prompt: Explain the Description of this artwork, The Three Philosophers.

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel (1484–1552), who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg


The Three Philosophers

Prompt: How does The Three Philosophers explain its Description?

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel (1484–1552), who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg


The Three Philosophers

Prompt: In The Three Philosophers, how is the Description discussed?

The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel (1484–1552), who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg


The Three Philosophers

Prompt: Focus on The Three Philosophers and explain the Interpretations.

Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave. "The emphasis on light and darkness in relation to philosophy has suggested one of the most credible interpretations of the painting, originally proposed by [Peter] Meller, who argues that it represents the education of philosophers, as described in book 7 of Plato's Republic, whose famous allegory concerns the cave, the sun, and the dividing of the line".New hypotheses about the figures, their identities and the symbolism are still currently advanced. In a note about the picture G. C. Williamsom, early in the 20th century, stated that "It represents Evander and his son Pallas showing to Aeneas the future site of Rome".  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity (youth, middle and old age), three epochs of European civilization (Antiquity, Middle Age, Renaissance), the three Abrahamic religions or some combination of such general conceptions.Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word "eclipsis" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is "partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'"

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg