Agora (sculpture)

Prompt: In Agora (sculpture), how is the History and description discussed?

Chicago, which has a large Polish American community, had hoped to add a major work by Abakanowicz for several years before Agora arrived. Among the plans which were not realized were a large hand to be placed at the end of BP Pedestrian Bridge and a set of animal sculptures to be placed near the Monroe Street harbor. One proposal called for a group of headless figures be placed in Chicago's Museum Campus. Chicago Mayor Richard M. Daley eventually suggested placing an installation at the south end of Grant Park, near Roosevelt Road. By 2006, private donors, including actor Robin Williams, contributed over $700,000 to bring the work to Chicago. The figures are 9 ft (2.7 m) tall and weigh approximately 1,800 lb (820 kg). Each is made from a hollow, seamless piece of iron that has been allowed to rust, creating a reddish appearance and a bark-like texture. The figures appear to be milling about in a crowd; some face each other, while others look away. Visitors are meant to walk through the sculptures and contemplate the work.The name Agora refers to the urban meeting places of the Ancient Greek city-states. Abakanowicz, who grew up during World War II, has said that her art draws on her fear of crowds, which she once described as "brainless organisms acting on command, worshiping on command and hating on command". However, the work has inspired optimistic interpretations. Kevin Nance of the Chicago Sun-Times wrote, "If they had arms and hands (they don't), these would be clasped behind their backs as if in contemplation. They seem, somehow, to be thinking, not as a group but as individuals. [...] It's possible, in fact, to interpret the piece as a representation of democracy."

Category:Iron sculptures in the United States

Category:2006 establishments in Illinois

Ministry of Culture and National Heritage (Poland)


Agora (sculpture)

Prompt: Focus on Agora (sculpture) and explain the Reception.

Agora received a mixed response from the people of Chicago. "I get e-mails from people loving it and people hating it. There's nothing in between," said Bob O'Neill. Mayor Daley lauded the work, saying, "You've got to go through it yourself to feel the spirit of the artist and each piece of artwork."

Category:Iron sculptures in the United States

Category:2006 establishments in Illinois

Ministry of Culture and National Heritage (Poland)


Agora (sculpture)

Prompt: Explain the Reception of this artwork, Agora (sculpture).

Agora received a mixed response from the people of Chicago. "I get e-mails from people loving it and people hating it. There's nothing in between," said Bob O'Neill. Mayor Daley lauded the work, saying, "You've got to go through it yourself to feel the spirit of the artist and each piece of artwork."

Category:Iron sculptures in the United States

Category:2006 establishments in Illinois

Ministry of Culture and National Heritage (Poland)


Agora (sculpture)

Prompt: How does Agora (sculpture) explain its Reception?

Agora received a mixed response from the people of Chicago. "I get e-mails from people loving it and people hating it. There's nothing in between," said Bob O'Neill. Mayor Daley lauded the work, saying, "You've got to go through it yourself to feel the spirit of the artist and each piece of artwork."

Category:Iron sculptures in the United States

Category:2006 establishments in Illinois

Ministry of Culture and National Heritage (Poland)


Agora (sculpture)

Prompt: In Agora (sculpture), how is the Reception discussed?

Agora received a mixed response from the people of Chicago. "I get e-mails from people loving it and people hating it. There's nothing in between," said Bob O'Neill. Mayor Daley lauded the work, saying, "You've got to go through it yourself to feel the spirit of the artist and each piece of artwork."

Category:Iron sculptures in the United States

Category:2006 establishments in Illinois

Ministry of Culture and National Heritage (Poland)


Susanna and the Elders (Tintoretto)

Prompt: Focus on Susanna and the Elders (Tintoretto) and explain the abstract.

Susanna and the Elders is a painting by the Venetian painter Tintoretto (Jacopo Robusti, 1518–1594). Robusti, also known as Tintoretto or Il Furioso, for the energy and "fury" with which he painted, depicted both sacred and profane subjects in a period sometimes known as the Venetian “golden century”.Susanna and the Elders (c. 1555–56) depicts a scene from the biblical episode of Susanna, from the Book of Daniel.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: Explain the abstract of this artwork, Susanna and the Elders (Tintoretto).

Susanna and the Elders is a painting by the Venetian painter Tintoretto (Jacopo Robusti, 1518–1594). Robusti, also known as Tintoretto or Il Furioso, for the energy and "fury" with which he painted, depicted both sacred and profane subjects in a period sometimes known as the Venetian “golden century”.Susanna and the Elders (c. 1555–56) depicts a scene from the biblical episode of Susanna, from the Book of Daniel.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: How does Susanna and the Elders (Tintoretto) explain its abstract?

Susanna and the Elders is a painting by the Venetian painter Tintoretto (Jacopo Robusti, 1518–1594). Robusti, also known as Tintoretto or Il Furioso, for the energy and "fury" with which he painted, depicted both sacred and profane subjects in a period sometimes known as the Venetian “golden century”.Susanna and the Elders (c. 1555–56) depicts a scene from the biblical episode of Susanna, from the Book of Daniel.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: In Susanna and the Elders (Tintoretto), how is the abstract discussed?

Susanna and the Elders is a painting by the Venetian painter Tintoretto (Jacopo Robusti, 1518–1594). Robusti, also known as Tintoretto or Il Furioso, for the energy and "fury" with which he painted, depicted both sacred and profane subjects in a period sometimes known as the Venetian “golden century”.Susanna and the Elders (c. 1555–56) depicts a scene from the biblical episode of Susanna, from the Book of Daniel.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: Focus on Susanna and the Elders (Tintoretto) and explain the Subject.

According to the story, a young married Jewish woman named Susanna bathed in a pool in her garden every day. One day, two elderly men who were guests of Susanna's wealthy husband Joakim, lusted for Susanna, who was described as "The Beautiful Susanna". The elders – who were judges and respectable members of the community – came to an agreement that they would wait until Susanna was alone in the garden and then have their way with her. After Susanna sent away her maids to fetch fragrant oils and perfumes for her bath, the two men rushed forward, propositioning her to have sex with them. They threatened to denounce her if she rejected their advances.Susanna rejected their proposal. The two prominent elders of the community then publicly denounced her, falsely accusing her of committing adultery with a young man. According to ancient Jewish law, adultery was punishable by death, and Susanna was condemned to death after everyone believed the two judges' story. Upset and crying, Susanna was taken away to be executed. She turned to God, calling upon him to prove her innocence. A young man named Daniel was standing in the crowd watching. While witnessing the procession Daniel heard the voice of an angel. The angel urged him to speak up and prevent the killing of an innocent woman who was being framed for doing something she had not done. (The young Daniel would later be known as the prophet Daniel.) The young man, surprised, felt obliged to halt the execution. He asked to be allowed to interrogate the two elders separately so that they could not speak to each other. Daniel then cross-examined the judges on how they had discovered Susanna, what the young man looked like, where they secretly met and so on. He kept receiving contradictory answers from the elders. When asked under which tree Susanna had committed adultery, the two elders gave very different answers and named different kinds of trees. The elderly judges were exposed for lying and for bearing false witness – a capital crime according to ancient Jewish law. Daniel proved Susanna was innocent, and she was freed while the elders were condemned.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: Explain the Subject of this artwork, Susanna and the Elders (Tintoretto).

According to the story, a young married Jewish woman named Susanna bathed in a pool in her garden every day. One day, two elderly men who were guests of Susanna's wealthy husband Joakim, lusted for Susanna, who was described as "The Beautiful Susanna". The elders – who were judges and respectable members of the community – came to an agreement that they would wait until Susanna was alone in the garden and then have their way with her. After Susanna sent away her maids to fetch fragrant oils and perfumes for her bath, the two men rushed forward, propositioning her to have sex with them. They threatened to denounce her if she rejected their advances.Susanna rejected their proposal. The two prominent elders of the community then publicly denounced her, falsely accusing her of committing adultery with a young man. According to ancient Jewish law, adultery was punishable by death, and Susanna was condemned to death after everyone believed the two judges' story. Upset and crying, Susanna was taken away to be executed. She turned to God, calling upon him to prove her innocence. A young man named Daniel was standing in the crowd watching. While witnessing the procession Daniel heard the voice of an angel. The angel urged him to speak up and prevent the killing of an innocent woman who was being framed for doing something she had not done. (The young Daniel would later be known as the prophet Daniel.) The young man, surprised, felt obliged to halt the execution. He asked to be allowed to interrogate the two elders separately so that they could not speak to each other. Daniel then cross-examined the judges on how they had discovered Susanna, what the young man looked like, where they secretly met and so on. He kept receiving contradictory answers from the elders. When asked under which tree Susanna had committed adultery, the two elders gave very different answers and named different kinds of trees. The elderly judges were exposed for lying and for bearing false witness – a capital crime according to ancient Jewish law. Daniel proved Susanna was innocent, and she was freed while the elders were condemned.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: How does Susanna and the Elders (Tintoretto) explain its Subject?

According to the story, a young married Jewish woman named Susanna bathed in a pool in her garden every day. One day, two elderly men who were guests of Susanna's wealthy husband Joakim, lusted for Susanna, who was described as "The Beautiful Susanna". The elders – who were judges and respectable members of the community – came to an agreement that they would wait until Susanna was alone in the garden and then have their way with her. After Susanna sent away her maids to fetch fragrant oils and perfumes for her bath, the two men rushed forward, propositioning her to have sex with them. They threatened to denounce her if she rejected their advances.Susanna rejected their proposal. The two prominent elders of the community then publicly denounced her, falsely accusing her of committing adultery with a young man. According to ancient Jewish law, adultery was punishable by death, and Susanna was condemned to death after everyone believed the two judges' story. Upset and crying, Susanna was taken away to be executed. She turned to God, calling upon him to prove her innocence. A young man named Daniel was standing in the crowd watching. While witnessing the procession Daniel heard the voice of an angel. The angel urged him to speak up and prevent the killing of an innocent woman who was being framed for doing something she had not done. (The young Daniel would later be known as the prophet Daniel.) The young man, surprised, felt obliged to halt the execution. He asked to be allowed to interrogate the two elders separately so that they could not speak to each other. Daniel then cross-examined the judges on how they had discovered Susanna, what the young man looked like, where they secretly met and so on. He kept receiving contradictory answers from the elders. When asked under which tree Susanna had committed adultery, the two elders gave very different answers and named different kinds of trees. The elderly judges were exposed for lying and for bearing false witness – a capital crime according to ancient Jewish law. Daniel proved Susanna was innocent, and she was freed while the elders were condemned.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: In Susanna and the Elders (Tintoretto), how is the Subject discussed?

According to the story, a young married Jewish woman named Susanna bathed in a pool in her garden every day. One day, two elderly men who were guests of Susanna's wealthy husband Joakim, lusted for Susanna, who was described as "The Beautiful Susanna". The elders – who were judges and respectable members of the community – came to an agreement that they would wait until Susanna was alone in the garden and then have their way with her. After Susanna sent away her maids to fetch fragrant oils and perfumes for her bath, the two men rushed forward, propositioning her to have sex with them. They threatened to denounce her if she rejected their advances.Susanna rejected their proposal. The two prominent elders of the community then publicly denounced her, falsely accusing her of committing adultery with a young man. According to ancient Jewish law, adultery was punishable by death, and Susanna was condemned to death after everyone believed the two judges' story. Upset and crying, Susanna was taken away to be executed. She turned to God, calling upon him to prove her innocence. A young man named Daniel was standing in the crowd watching. While witnessing the procession Daniel heard the voice of an angel. The angel urged him to speak up and prevent the killing of an innocent woman who was being framed for doing something she had not done. (The young Daniel would later be known as the prophet Daniel.) The young man, surprised, felt obliged to halt the execution. He asked to be allowed to interrogate the two elders separately so that they could not speak to each other. Daniel then cross-examined the judges on how they had discovered Susanna, what the young man looked like, where they secretly met and so on. He kept receiving contradictory answers from the elders. When asked under which tree Susanna had committed adultery, the two elders gave very different answers and named different kinds of trees. The elderly judges were exposed for lying and for bearing false witness – a capital crime according to ancient Jewish law. Daniel proved Susanna was innocent, and she was freed while the elders were condemned.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: Focus on Susanna and the Elders (Tintoretto) and explain the Painting.

The painting shows a naked Susanna sitting in a garden beside a pool, leaning against a tree, and facing a dense rose trellis, against which leans a mirror. Susanna gazes into the mirror. Around her on the ground are several bright objects including a white silk shawl, pearls, jewelry, a comb, and silverware, which together form a kind of still life. Two elderly men peer around either end of the rose trellis to watch her. Susanna is sitting absorbed by her reflection in the mirror and unaware of the intruders.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: Explain the Painting of this artwork, Susanna and the Elders (Tintoretto).

The painting shows a naked Susanna sitting in a garden beside a pool, leaning against a tree, and facing a dense rose trellis, against which leans a mirror. Susanna gazes into the mirror. Around her on the ground are several bright objects including a white silk shawl, pearls, jewelry, a comb, and silverware, which together form a kind of still life. Two elderly men peer around either end of the rose trellis to watch her. Susanna is sitting absorbed by her reflection in the mirror and unaware of the intruders.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: How does Susanna and the Elders (Tintoretto) explain its Painting?

The painting shows a naked Susanna sitting in a garden beside a pool, leaning against a tree, and facing a dense rose trellis, against which leans a mirror. Susanna gazes into the mirror. Around her on the ground are several bright objects including a white silk shawl, pearls, jewelry, a comb, and silverware, which together form a kind of still life. Two elderly men peer around either end of the rose trellis to watch her. Susanna is sitting absorbed by her reflection in the mirror and unaware of the intruders.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: In Susanna and the Elders (Tintoretto), how is the Painting discussed?

The painting shows a naked Susanna sitting in a garden beside a pool, leaning against a tree, and facing a dense rose trellis, against which leans a mirror. Susanna gazes into the mirror. Around her on the ground are several bright objects including a white silk shawl, pearls, jewelry, a comb, and silverware, which together form a kind of still life. Two elderly men peer around either end of the rose trellis to watch her. Susanna is sitting absorbed by her reflection in the mirror and unaware of the intruders.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

National Gallery of Art in Washington, D.C.

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: Focus on Susanna and the Elders (Tintoretto) and explain the History.

Tintoretto's Susanna and the Elders, from 1555/56, is one of several works on the same subject from the artist's studio. One of the pictures is exhibited at the Louvre, the Museo del Prado and in the National Gallery of Art in Washington, D.C.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: Explain the History of this artwork, Susanna and the Elders (Tintoretto).

Tintoretto's Susanna and the Elders, from 1555/56, is one of several works on the same subject from the artist's studio. One of the pictures is exhibited at the Louvre, the Museo del Prado and in the National Gallery of Art in Washington, D.C.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: How does Susanna and the Elders (Tintoretto) explain its History?

Tintoretto's Susanna and the Elders, from 1555/56, is one of several works on the same subject from the artist's studio. One of the pictures is exhibited at the Louvre, the Museo del Prado and in the National Gallery of Art in Washington, D.C.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


Susanna and the Elders (Tintoretto)

Prompt: In Susanna and the Elders (Tintoretto), how is the History discussed?

Tintoretto's Susanna and the Elders, from 1555/56, is one of several works on the same subject from the artist's studio. One of the pictures is exhibited at the Louvre, the Museo del Prado and in the National Gallery of Art in Washington, D.C.

Category:Paintings of Susanna and the Elders

File:1460-65 Botticelli Profile portrait of young woman anagoria.JPG

Category:Paintings in the Kunsthistorisches Museum

File:Jacopo Tintoretto - Susanna and the Elders (detail) - WGA22658.jpg


The Zouave

Prompt: Focus on The Zouave and explain the abstract.

The Zouave is the subject of several sketches and paintings made by Vincent van Gogh in Arles, France in June 1888. The pieces range from close up oil painting portraits of the Zouave to full-body drawings. Van Gogh produced this collection of pieces during the period he spent in southern France, which many scholars regard as the zenith of his artistic career.: 11 Van Gogh nonetheless expressed frustration about his work during this time.The well-known half-figure oil painting, Le Zouave, can be found in Amsterdam in the Van Gogh Museum along with the pencil and reed pen drawing of The Seated Zouave.

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: Explain the abstract of this artwork, The Zouave.

The Zouave is the subject of several sketches and paintings made by Vincent van Gogh in Arles, France in June 1888. The pieces range from close up oil painting portraits of the Zouave to full-body drawings. Van Gogh produced this collection of pieces during the period he spent in southern France, which many scholars regard as the zenith of his artistic career.: 11 Van Gogh nonetheless expressed frustration about his work during this time.The well-known half-figure oil painting, Le Zouave, can be found in Amsterdam in the Van Gogh Museum along with the pencil and reed pen drawing of The Seated Zouave.

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: How does The Zouave explain its abstract?

The Zouave is the subject of several sketches and paintings made by Vincent van Gogh in Arles, France in June 1888. The pieces range from close up oil painting portraits of the Zouave to full-body drawings. Van Gogh produced this collection of pieces during the period he spent in southern France, which many scholars regard as the zenith of his artistic career.: 11 Van Gogh nonetheless expressed frustration about his work during this time.The well-known half-figure oil painting, Le Zouave, can be found in Amsterdam in the Van Gogh Museum along with the pencil and reed pen drawing of The Seated Zouave.

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: In The Zouave, how is the abstract discussed?

The Zouave is the subject of several sketches and paintings made by Vincent van Gogh in Arles, France in June 1888. The pieces range from close up oil painting portraits of the Zouave to full-body drawings. Van Gogh produced this collection of pieces during the period he spent in southern France, which many scholars regard as the zenith of his artistic career.: 11 Van Gogh nonetheless expressed frustration about his work during this time.The well-known half-figure oil painting, Le Zouave, can be found in Amsterdam in the Van Gogh Museum along with the pencil and reed pen drawing of The Seated Zouave.

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: Focus on The Zouave and explain the Context.

Vincent Van Gogh traveled to Arles in early 1888.: 12  His stay in Arles was fueled by his desire to establish a “studio of the south” where like-minded artists could collaborate as "impressionists of today." Van Gogh lived in a yellow house that he rented and simultaneously used as a studio for posing his models as well as a space for his personal gallery. His long term plan of establishing a group of artists in Arles was unsuccessful, and his letters seeking to attract other artists to the southern French city, such as Paul Gauguin, show that van Gogh felt lonely during his stay. Despite these feelings of isolation, van Gogh produced many notable pieces alongside the works featuring the Zouave, including Bedroom in Arles and Café Terrace at Night.The French Zouave who served as the model for van Gogh's pieces was Lieutenant Milliet, and he became a close companion to the artist. Van Gogh was excited to have a model for a portrait, given the fact that he often felt as though he did not know enough people who would willingly pose for him. Despite the fact that Milliet agreed to pose for a portrait, the pair did not always agree on artistic matters. In fact, Milliet found van Gogh rather impatient and abrasive. Furthermore, the portraits produced by van Gogh were not particularly admired by the Lieutenant, but he recognized that keeping silent on the matter would serve him well rather than voicing his dissatisfaction.: 230–231

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: Explain the Context of this artwork, The Zouave.

Vincent Van Gogh traveled to Arles in early 1888.: 12  His stay in Arles was fueled by his desire to establish a “studio of the south” where like-minded artists could collaborate as "impressionists of today." Van Gogh lived in a yellow house that he rented and simultaneously used as a studio for posing his models as well as a space for his personal gallery. His long term plan of establishing a group of artists in Arles was unsuccessful, and his letters seeking to attract other artists to the southern French city, such as Paul Gauguin, show that van Gogh felt lonely during his stay. Despite these feelings of isolation, van Gogh produced many notable pieces alongside the works featuring the Zouave, including Bedroom in Arles and Café Terrace at Night.The French Zouave who served as the model for van Gogh's pieces was Lieutenant Milliet, and he became a close companion to the artist. Van Gogh was excited to have a model for a portrait, given the fact that he often felt as though he did not know enough people who would willingly pose for him. Despite the fact that Milliet agreed to pose for a portrait, the pair did not always agree on artistic matters. In fact, Milliet found van Gogh rather impatient and abrasive. Furthermore, the portraits produced by van Gogh were not particularly admired by the Lieutenant, but he recognized that keeping silent on the matter would serve him well rather than voicing his dissatisfaction.: 230–231

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: How does The Zouave explain its Context?

Vincent Van Gogh traveled to Arles in early 1888.: 12  His stay in Arles was fueled by his desire to establish a “studio of the south” where like-minded artists could collaborate as "impressionists of today." Van Gogh lived in a yellow house that he rented and simultaneously used as a studio for posing his models as well as a space for his personal gallery. His long term plan of establishing a group of artists in Arles was unsuccessful, and his letters seeking to attract other artists to the southern French city, such as Paul Gauguin, show that van Gogh felt lonely during his stay. Despite these feelings of isolation, van Gogh produced many notable pieces alongside the works featuring the Zouave, including Bedroom in Arles and Café Terrace at Night.The French Zouave who served as the model for van Gogh's pieces was Lieutenant Milliet, and he became a close companion to the artist. Van Gogh was excited to have a model for a portrait, given the fact that he often felt as though he did not know enough people who would willingly pose for him. Despite the fact that Milliet agreed to pose for a portrait, the pair did not always agree on artistic matters. In fact, Milliet found van Gogh rather impatient and abrasive. Furthermore, the portraits produced by van Gogh were not particularly admired by the Lieutenant, but he recognized that keeping silent on the matter would serve him well rather than voicing his dissatisfaction.: 230–231

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: In The Zouave, how is the Context discussed?

Vincent Van Gogh traveled to Arles in early 1888.: 12  His stay in Arles was fueled by his desire to establish a “studio of the south” where like-minded artists could collaborate as "impressionists of today." Van Gogh lived in a yellow house that he rented and simultaneously used as a studio for posing his models as well as a space for his personal gallery. His long term plan of establishing a group of artists in Arles was unsuccessful, and his letters seeking to attract other artists to the southern French city, such as Paul Gauguin, show that van Gogh felt lonely during his stay. Despite these feelings of isolation, van Gogh produced many notable pieces alongside the works featuring the Zouave, including Bedroom in Arles and Café Terrace at Night.The French Zouave who served as the model for van Gogh's pieces was Lieutenant Milliet, and he became a close companion to the artist. Van Gogh was excited to have a model for a portrait, given the fact that he often felt as though he did not know enough people who would willingly pose for him. Despite the fact that Milliet agreed to pose for a portrait, the pair did not always agree on artistic matters. In fact, Milliet found van Gogh rather impatient and abrasive. Furthermore, the portraits produced by van Gogh were not particularly admired by the Lieutenant, but he recognized that keeping silent on the matter would serve him well rather than voicing his dissatisfaction.: 230–231

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: Focus on The Zouave and explain the Analysis.

The collection of pieces capturing the Zouave highlight the range of adopted techniques and artistic experiments that van Gogh utilized during his time in southern France. In a letter to his fellow artist friend Gauguin, van Gogh expressed his desire to use a reduced color palette in order to express poetic ideas. In a letter to his brother, he revealed his wish to use "the actual radiance and vibrations of our colorings" to portray his subjects as almost ethereal.  This approach is evident particularly in the half-length portrait, Le Zouave (half-figure). The painting presents a tanned man through bright colors he called a "savage combination of incongruous tones." The Zouave's uniform is blue with red-orange braids, a red cap and two yellow stars on his chest, all placed against the background of a green door and orange bricks. The use of these bright reds, blues, greens and whites is also found in variations of the portrait such as The Seated Zouave (oil on canvas).Van Gogh's limited color palette was not his only technical innovation in these works. The series of the Zouave also points to the range of artistic influences from different parts of the world that van Gogh drew inspiration from. For example, he created a pencil and reed-pen drawing of the Zouave shows signs of Japanese influence.  Through the usage of reed pens combined with pencil, generally associated with Japanese artists, van Gogh achieved a textured and intricate portrayal of the Zouave's already elaborate uniform. It is unclear when this particular drawing was produced, though it is assumed to be around the same time as the paintings of the Zouave.Van Gogh was not happy with the painting and described it as "ugly and unsuccessful,” but he thought the challenge might expand his artistic range. A possible factor that could have contributed to his dissatisfaction was the conditions during which he made this collection of portraits. In late June, during the exact days van Gogh created the pieces featuring the Zouave, Arles had torrential rainstorms for that lasted over three days straight. On June 23, van Gogh wrote a letter to his fellow artist comrade, Emile Bernard, exclaiming he was exhausted, suggesting that his dissatisfaction for his paintings was perhaps influenced by the horrid weather conditions in which he produced them in addition to his feelings of loneliness.Yet, in a letter to his brother, van Gogh wrote "I am very dissatisfied with what I have been doing lately, because it is very ugly. But all the same, figure is interesting me more than landscape," which further suggests his stubborn dedication and enchantment in the creation of the portraits of the Zouave.: 106

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: Explain the Analysis of this artwork, The Zouave.

The collection of pieces capturing the Zouave highlight the range of adopted techniques and artistic experiments that van Gogh utilized during his time in southern France. In a letter to his fellow artist friend Gauguin, van Gogh expressed his desire to use a reduced color palette in order to express poetic ideas. In a letter to his brother, he revealed his wish to use "the actual radiance and vibrations of our colorings" to portray his subjects as almost ethereal.  This approach is evident particularly in the half-length portrait, Le Zouave (half-figure). The painting presents a tanned man through bright colors he called a "savage combination of incongruous tones." The Zouave's uniform is blue with red-orange braids, a red cap and two yellow stars on his chest, all placed against the background of a green door and orange bricks. The use of these bright reds, blues, greens and whites is also found in variations of the portrait such as The Seated Zouave (oil on canvas).Van Gogh's limited color palette was not his only technical innovation in these works. The series of the Zouave also points to the range of artistic influences from different parts of the world that van Gogh drew inspiration from. For example, he created a pencil and reed-pen drawing of the Zouave shows signs of Japanese influence.  Through the usage of reed pens combined with pencil, generally associated with Japanese artists, van Gogh achieved a textured and intricate portrayal of the Zouave's already elaborate uniform. It is unclear when this particular drawing was produced, though it is assumed to be around the same time as the paintings of the Zouave.Van Gogh was not happy with the painting and described it as "ugly and unsuccessful,” but he thought the challenge might expand his artistic range. A possible factor that could have contributed to his dissatisfaction was the conditions during which he made this collection of portraits. In late June, during the exact days van Gogh created the pieces featuring the Zouave, Arles had torrential rainstorms for that lasted over three days straight. On June 23, van Gogh wrote a letter to his fellow artist comrade, Emile Bernard, exclaiming he was exhausted, suggesting that his dissatisfaction for his paintings was perhaps influenced by the horrid weather conditions in which he produced them in addition to his feelings of loneliness.Yet, in a letter to his brother, van Gogh wrote "I am very dissatisfied with what I have been doing lately, because it is very ugly. But all the same, figure is interesting me more than landscape," which further suggests his stubborn dedication and enchantment in the creation of the portraits of the Zouave.: 106

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: How does The Zouave explain its Analysis?

The collection of pieces capturing the Zouave highlight the range of adopted techniques and artistic experiments that van Gogh utilized during his time in southern France. In a letter to his fellow artist friend Gauguin, van Gogh expressed his desire to use a reduced color palette in order to express poetic ideas. In a letter to his brother, he revealed his wish to use "the actual radiance and vibrations of our colorings" to portray his subjects as almost ethereal.  This approach is evident particularly in the half-length portrait, Le Zouave (half-figure). The painting presents a tanned man through bright colors he called a "savage combination of incongruous tones." The Zouave's uniform is blue with red-orange braids, a red cap and two yellow stars on his chest, all placed against the background of a green door and orange bricks. The use of these bright reds, blues, greens and whites is also found in variations of the portrait such as The Seated Zouave (oil on canvas).Van Gogh's limited color palette was not his only technical innovation in these works. The series of the Zouave also points to the range of artistic influences from different parts of the world that van Gogh drew inspiration from. For example, he created a pencil and reed-pen drawing of the Zouave shows signs of Japanese influence.  Through the usage of reed pens combined with pencil, generally associated with Japanese artists, van Gogh achieved a textured and intricate portrayal of the Zouave's already elaborate uniform. It is unclear when this particular drawing was produced, though it is assumed to be around the same time as the paintings of the Zouave.Van Gogh was not happy with the painting and described it as "ugly and unsuccessful,” but he thought the challenge might expand his artistic range. A possible factor that could have contributed to his dissatisfaction was the conditions during which he made this collection of portraits. In late June, during the exact days van Gogh created the pieces featuring the Zouave, Arles had torrential rainstorms for that lasted over three days straight. On June 23, van Gogh wrote a letter to his fellow artist comrade, Emile Bernard, exclaiming he was exhausted, suggesting that his dissatisfaction for his paintings was perhaps influenced by the horrid weather conditions in which he produced them in addition to his feelings of loneliness.Yet, in a letter to his brother, van Gogh wrote "I am very dissatisfied with what I have been doing lately, because it is very ugly. But all the same, figure is interesting me more than landscape," which further suggests his stubborn dedication and enchantment in the creation of the portraits of the Zouave.: 106

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


The Zouave

Prompt: In The Zouave, how is the Analysis discussed?

The collection of pieces capturing the Zouave highlight the range of adopted techniques and artistic experiments that van Gogh utilized during his time in southern France. In a letter to his fellow artist friend Gauguin, van Gogh expressed his desire to use a reduced color palette in order to express poetic ideas. In a letter to his brother, he revealed his wish to use "the actual radiance and vibrations of our colorings" to portray his subjects as almost ethereal.  This approach is evident particularly in the half-length portrait, Le Zouave (half-figure). The painting presents a tanned man through bright colors he called a "savage combination of incongruous tones." The Zouave's uniform is blue with red-orange braids, a red cap and two yellow stars on his chest, all placed against the background of a green door and orange bricks. The use of these bright reds, blues, greens and whites is also found in variations of the portrait such as The Seated Zouave (oil on canvas).Van Gogh's limited color palette was not his only technical innovation in these works. The series of the Zouave also points to the range of artistic influences from different parts of the world that van Gogh drew inspiration from. For example, he created a pencil and reed-pen drawing of the Zouave shows signs of Japanese influence.  Through the usage of reed pens combined with pencil, generally associated with Japanese artists, van Gogh achieved a textured and intricate portrayal of the Zouave's already elaborate uniform. It is unclear when this particular drawing was produced, though it is assumed to be around the same time as the paintings of the Zouave.Van Gogh was not happy with the painting and described it as "ugly and unsuccessful,” but he thought the challenge might expand his artistic range. A possible factor that could have contributed to his dissatisfaction was the conditions during which he made this collection of portraits. In late June, during the exact days van Gogh created the pieces featuring the Zouave, Arles had torrential rainstorms for that lasted over three days straight. On June 23, van Gogh wrote a letter to his fellow artist comrade, Emile Bernard, exclaiming he was exhausted, suggesting that his dissatisfaction for his paintings was perhaps influenced by the horrid weather conditions in which he produced them in addition to his feelings of loneliness.Yet, in a letter to his brother, van Gogh wrote "I am very dissatisfied with what I have been doing lately, because it is very ugly. But all the same, figure is interesting me more than landscape," which further suggests his stubborn dedication and enchantment in the creation of the portraits of the Zouave.: 106

Category:Paintings of Arles by Vincent van Gogh

Category:Collection of the Van Gogh Museum


Small Cowper Madonna

Prompt: Focus on Small Cowper Madonna and explain the abstract.

The Small Cowper Madonna is a painting by the Italian High Renaissance artist Raphael, depicting Mary and Child, in a typical Italian countryside. It has been dated to around 1504–1505, the middle of the High Renaissance.

George Clavering-Cowper, 3rd Earl Cowper

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art

The Virgin and Child (The Northbrook Madonna)


Small Cowper Madonna

Prompt: Explain the abstract of this artwork, Small Cowper Madonna.

The Small Cowper Madonna is a painting by the Italian High Renaissance artist Raphael, depicting Mary and Child, in a typical Italian countryside. It has been dated to around 1504–1505, the middle of the High Renaissance.

George Clavering-Cowper, 3rd Earl Cowper

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art

The Virgin and Child (The Northbrook Madonna)


Small Cowper Madonna

Prompt: How does Small Cowper Madonna explain its abstract?

The Small Cowper Madonna is a painting by the Italian High Renaissance artist Raphael, depicting Mary and Child, in a typical Italian countryside. It has been dated to around 1504–1505, the middle of the High Renaissance.

George Clavering-Cowper, 3rd Earl Cowper

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art

The Virgin and Child (The Northbrook Madonna)


Small Cowper Madonna

Prompt: In Small Cowper Madonna, how is the abstract discussed?

The Small Cowper Madonna is a painting by the Italian High Renaissance artist Raphael, depicting Mary and Child, in a typical Italian countryside. It has been dated to around 1504–1505, the middle of the High Renaissance.

George Clavering-Cowper, 3rd Earl Cowper

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art

The Virgin and Child (The Northbrook Madonna)


Small Cowper Madonna

Prompt: Focus on Small Cowper Madonna and explain the History.

It is not known exactly why the Small Cowper Madonna was painted. It was probably either a private commission  or for the general art market; images of the Madonna and Child were often given as wedding presents. It is widely thought that the church on the right hand side of the painting is the church of San Bernardino, where the Dukes of Urbino (where Raphael was born) were buried, and it has been suggested that the presence of the church means the painting may have been "commissioned by the family for devotional purposes." Around 1780, the painting was sold to the prominent art collector George Clavering-Cowper, 3rd Earl Cowper, whose surname would lend the painting its name. The painting was passed down through six generations of Cowpers before it was sold to Duveen Brothers, Inc. in 1913. In 1914, it was sold to American magnate Peter A.B. Widener, who displayed the painting at Lynnewood Hall. Peter A.B. Widener's son, Joseph E. Widener, donated the Small Cowper Madonna to the National Gallery of Art in 1942, along with the rest of Lynnewood Hall's extensive art collection.In 2015 the National Gallery of Art loaned the Small Cowper Madonna to the Worcester Art Museum in Massachusetts (U.S.) to be exhibited alongside The Virgin and Child (The Northbrook Madonna). The Northbrook Madonna is in the Worcester Art Museum's  permanent collection and was once attributed to Raphael. One hope of the exhibition was to identify the artist who painted the Northbrook Madonna. The painter of the Northbrook Madonna was later identified by the museum as perhaps being Domenico Alfani, a close friend of Raphael's whose works have often been misattributed to the better-known artist.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art


Small Cowper Madonna

Prompt: Explain the History of this artwork, Small Cowper Madonna.

It is not known exactly why the Small Cowper Madonna was painted. It was probably either a private commission  or for the general art market; images of the Madonna and Child were often given as wedding presents. It is widely thought that the church on the right hand side of the painting is the church of San Bernardino, where the Dukes of Urbino (where Raphael was born) were buried, and it has been suggested that the presence of the church means the painting may have been "commissioned by the family for devotional purposes." Around 1780, the painting was sold to the prominent art collector George Clavering-Cowper, 3rd Earl Cowper, whose surname would lend the painting its name. The painting was passed down through six generations of Cowpers before it was sold to Duveen Brothers, Inc. in 1913. In 1914, it was sold to American magnate Peter A.B. Widener, who displayed the painting at Lynnewood Hall. Peter A.B. Widener's son, Joseph E. Widener, donated the Small Cowper Madonna to the National Gallery of Art in 1942, along with the rest of Lynnewood Hall's extensive art collection.In 2015 the National Gallery of Art loaned the Small Cowper Madonna to the Worcester Art Museum in Massachusetts (U.S.) to be exhibited alongside The Virgin and Child (The Northbrook Madonna). The Northbrook Madonna is in the Worcester Art Museum's  permanent collection and was once attributed to Raphael. One hope of the exhibition was to identify the artist who painted the Northbrook Madonna. The painter of the Northbrook Madonna was later identified by the museum as perhaps being Domenico Alfani, a close friend of Raphael's whose works have often been misattributed to the better-known artist.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art


Small Cowper Madonna

Prompt: How does Small Cowper Madonna explain its History?

It is not known exactly why the Small Cowper Madonna was painted. It was probably either a private commission  or for the general art market; images of the Madonna and Child were often given as wedding presents. It is widely thought that the church on the right hand side of the painting is the church of San Bernardino, where the Dukes of Urbino (where Raphael was born) were buried, and it has been suggested that the presence of the church means the painting may have been "commissioned by the family for devotional purposes." Around 1780, the painting was sold to the prominent art collector George Clavering-Cowper, 3rd Earl Cowper, whose surname would lend the painting its name. The painting was passed down through six generations of Cowpers before it was sold to Duveen Brothers, Inc. in 1913. In 1914, it was sold to American magnate Peter A.B. Widener, who displayed the painting at Lynnewood Hall. Peter A.B. Widener's son, Joseph E. Widener, donated the Small Cowper Madonna to the National Gallery of Art in 1942, along with the rest of Lynnewood Hall's extensive art collection.In 2015 the National Gallery of Art loaned the Small Cowper Madonna to the Worcester Art Museum in Massachusetts (U.S.) to be exhibited alongside The Virgin and Child (The Northbrook Madonna). The Northbrook Madonna is in the Worcester Art Museum's  permanent collection and was once attributed to Raphael. One hope of the exhibition was to identify the artist who painted the Northbrook Madonna. The painter of the Northbrook Madonna was later identified by the museum as perhaps being Domenico Alfani, a close friend of Raphael's whose works have often been misattributed to the better-known artist.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art


Small Cowper Madonna

Prompt: In Small Cowper Madonna, how is the History discussed?

It is not known exactly why the Small Cowper Madonna was painted. It was probably either a private commission  or for the general art market; images of the Madonna and Child were often given as wedding presents. It is widely thought that the church on the right hand side of the painting is the church of San Bernardino, where the Dukes of Urbino (where Raphael was born) were buried, and it has been suggested that the presence of the church means the painting may have been "commissioned by the family for devotional purposes." Around 1780, the painting was sold to the prominent art collector George Clavering-Cowper, 3rd Earl Cowper, whose surname would lend the painting its name. The painting was passed down through six generations of Cowpers before it was sold to Duveen Brothers, Inc. in 1913. In 1914, it was sold to American magnate Peter A.B. Widener, who displayed the painting at Lynnewood Hall. Peter A.B. Widener's son, Joseph E. Widener, donated the Small Cowper Madonna to the National Gallery of Art in 1942, along with the rest of Lynnewood Hall's extensive art collection.In 2015 the National Gallery of Art loaned the Small Cowper Madonna to the Worcester Art Museum in Massachusetts (U.S.) to be exhibited alongside The Virgin and Child (The Northbrook Madonna). The Northbrook Madonna is in the Worcester Art Museum's  permanent collection and was once attributed to Raphael. One hope of the exhibition was to identify the artist who painted the Northbrook Madonna. The painter of the Northbrook Madonna was later identified by the museum as perhaps being Domenico Alfani, a close friend of Raphael's whose works have often been misattributed to the better-known artist.

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art


Small Cowper Madonna

Prompt: Focus on Small Cowper Madonna and explain the Description.

Sitting in the center of the work in a bright red dress is the Madonna. She is fair skinned with blonde hair. She sits comfortably on a wooden bench. Across her lap is a dark drapery upon which her right hand delicately sits. There appears to be a sheer translucent ribbon elegantly flowing across the top of her dress and behind her head. The faintest golden halo miraculously surrounds her head. In her left hand she holds the baby Christ, who embraces her with one arm around her back, the other around her neck. He looks back over his shoulder with a coy smile. Behind them, a beautifully clear and bright day unfolds. Off in the distance two figures appear to be ambling toward a reflective pond, enjoying the green scenery around them. A large structure stands at the end of a long path, thought to be the Church of San Bernardino in Urbino.

George Clavering-Cowper, 3rd Earl Cowper

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art

The Virgin and Child (The Northbrook Madonna)


Small Cowper Madonna

Prompt: Explain the Description of this artwork, Small Cowper Madonna.

Sitting in the center of the work in a bright red dress is the Madonna. She is fair skinned with blonde hair. She sits comfortably on a wooden bench. Across her lap is a dark drapery upon which her right hand delicately sits. There appears to be a sheer translucent ribbon elegantly flowing across the top of her dress and behind her head. The faintest golden halo miraculously surrounds her head. In her left hand she holds the baby Christ, who embraces her with one arm around her back, the other around her neck. He looks back over his shoulder with a coy smile. Behind them, a beautifully clear and bright day unfolds. Off in the distance two figures appear to be ambling toward a reflective pond, enjoying the green scenery around them. A large structure stands at the end of a long path, thought to be the Church of San Bernardino in Urbino.

George Clavering-Cowper, 3rd Earl Cowper

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art

The Virgin and Child (The Northbrook Madonna)


Small Cowper Madonna

Prompt: How does Small Cowper Madonna explain its Description?

Sitting in the center of the work in a bright red dress is the Madonna. She is fair skinned with blonde hair. She sits comfortably on a wooden bench. Across her lap is a dark drapery upon which her right hand delicately sits. There appears to be a sheer translucent ribbon elegantly flowing across the top of her dress and behind her head. The faintest golden halo miraculously surrounds her head. In her left hand she holds the baby Christ, who embraces her with one arm around her back, the other around her neck. He looks back over his shoulder with a coy smile. Behind them, a beautifully clear and bright day unfolds. Off in the distance two figures appear to be ambling toward a reflective pond, enjoying the green scenery around them. A large structure stands at the end of a long path, thought to be the Church of San Bernardino in Urbino.

George Clavering-Cowper, 3rd Earl Cowper

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art

The Virgin and Child (The Northbrook Madonna)


Small Cowper Madonna

Prompt: In Small Cowper Madonna, how is the Description discussed?

Sitting in the center of the work in a bright red dress is the Madonna. She is fair skinned with blonde hair. She sits comfortably on a wooden bench. Across her lap is a dark drapery upon which her right hand delicately sits. There appears to be a sheer translucent ribbon elegantly flowing across the top of her dress and behind her head. The faintest golden halo miraculously surrounds her head. In her left hand she holds the baby Christ, who embraces her with one arm around her back, the other around her neck. He looks back over his shoulder with a coy smile. Behind them, a beautifully clear and bright day unfolds. Off in the distance two figures appear to be ambling toward a reflective pond, enjoying the green scenery around them. A large structure stands at the end of a long path, thought to be the Church of San Bernardino in Urbino.

George Clavering-Cowper, 3rd Earl Cowper

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the National Gallery of Art

The Virgin and Child (The Northbrook Madonna)


Droeshout portrait

Prompt: Focus on Droeshout portrait and explain the abstract.

The Droeshout portrait or Droeshout engraving is a portrait of William Shakespeare engraved by Martin Droeshout as the frontispiece for the title page of the First Folio collection of Shakespeare's plays, published in 1623. It is one of only two works of art definitively identifiable as a depiction of the poet; the other is the statue erected as his funeral monument in Shakespeare's home town of Stratford-upon-Avon. Both are posthumous.While its role as a portrait frontispiece is typical of publications from the era, the exact circumstances surrounding the making of the engraving are unknown. It is uncertain which of two "Martin Droeshouts" created the engraving and it is not known to what extent the features were copied from an existing painting or drawing. Critics have generally been unimpressed by it as a work of art, although the engraving has had a few defenders, and exponents of the Shakespeare authorship question have claimed to find coded messages within it.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Explain the abstract of this artwork, Droeshout portrait.

The Droeshout portrait or Droeshout engraving is a portrait of William Shakespeare engraved by Martin Droeshout as the frontispiece for the title page of the First Folio collection of Shakespeare's plays, published in 1623. It is one of only two works of art definitively identifiable as a depiction of the poet; the other is the statue erected as his funeral monument in Shakespeare's home town of Stratford-upon-Avon. Both are posthumous.While its role as a portrait frontispiece is typical of publications from the era, the exact circumstances surrounding the making of the engraving are unknown. It is uncertain which of two "Martin Droeshouts" created the engraving and it is not known to what extent the features were copied from an existing painting or drawing. Critics have generally been unimpressed by it as a work of art, although the engraving has had a few defenders, and exponents of the Shakespeare authorship question have claimed to find coded messages within it.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: How does Droeshout portrait explain its abstract?

The Droeshout portrait or Droeshout engraving is a portrait of William Shakespeare engraved by Martin Droeshout as the frontispiece for the title page of the First Folio collection of Shakespeare's plays, published in 1623. It is one of only two works of art definitively identifiable as a depiction of the poet; the other is the statue erected as his funeral monument in Shakespeare's home town of Stratford-upon-Avon. Both are posthumous.While its role as a portrait frontispiece is typical of publications from the era, the exact circumstances surrounding the making of the engraving are unknown. It is uncertain which of two "Martin Droeshouts" created the engraving and it is not known to what extent the features were copied from an existing painting or drawing. Critics have generally been unimpressed by it as a work of art, although the engraving has had a few defenders, and exponents of the Shakespeare authorship question have claimed to find coded messages within it.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In Droeshout portrait, how is the abstract discussed?

The Droeshout portrait or Droeshout engraving is a portrait of William Shakespeare engraved by Martin Droeshout as the frontispiece for the title page of the First Folio collection of Shakespeare's plays, published in 1623. It is one of only two works of art definitively identifiable as a depiction of the poet; the other is the statue erected as his funeral monument in Shakespeare's home town of Stratford-upon-Avon. Both are posthumous.While its role as a portrait frontispiece is typical of publications from the era, the exact circumstances surrounding the making of the engraving are unknown. It is uncertain which of two "Martin Droeshouts" created the engraving and it is not known to what extent the features were copied from an existing painting or drawing. Critics have generally been unimpressed by it as a work of art, although the engraving has had a few defenders, and exponents of the Shakespeare authorship question have claimed to find coded messages within it.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Focus on Droeshout portrait and explain the States.

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache.Later copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685 (heavily retouched)  and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Explain the States of this artwork, Droeshout portrait.

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache.Later copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685 (heavily retouched)  and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: How does Droeshout portrait explain its States?

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache.Later copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685 (heavily retouched)  and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In Droeshout portrait, how is the States discussed?

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache.Later copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685 (heavily retouched)  and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Focus on Droeshout portrait and explain the Authorship.

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger (1601 – after 1639), the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.Research by Mary Edmond into the Droeshout family revealed new information about Martin Droeshout the Elder (c. 1560s – 1642), who was the uncle of the younger Martin. Edmond shows that Droeshout the Elder was a member of the Painter-Stainer's Company. Edmond writes,It seems perverse to attribute the Shakespeare engraving to the obscure and unsuitably young Martin Droeshout, born in 1601, as is customary, when there is a quite well-documented artist of the same name to hand, in the person of his uncle".In 1991 Christiaan Schuckman discovered a set of signed plates in Madrid, Spain, that can be attributed to the engraver of the First Folio portrait. These plates bear Droeshout's signature and are stylistically similar to his portrait of Shakespeare. (They include a portrait of the priest and writer Francisco de la Peña that has a striking resemblance to the English poet). On the evidence of these plates, which were made between 1635 and 1639, Schuckman attributed the portrait of Shakespeare to the younger Martin and suggested that the engraver had converted to Catholicism and emigrated to Spain in 1635, where he continued to work.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Explain the Authorship of this artwork, Droeshout portrait.

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger (1601 – after 1639), the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.Research by Mary Edmond into the Droeshout family revealed new information about Martin Droeshout the Elder (c. 1560s – 1642), who was the uncle of the younger Martin. Edmond shows that Droeshout the Elder was a member of the Painter-Stainer's Company. Edmond writes,It seems perverse to attribute the Shakespeare engraving to the obscure and unsuitably young Martin Droeshout, born in 1601, as is customary, when there is a quite well-documented artist of the same name to hand, in the person of his uncle".In 1991 Christiaan Schuckman discovered a set of signed plates in Madrid, Spain, that can be attributed to the engraver of the First Folio portrait. These plates bear Droeshout's signature and are stylistically similar to his portrait of Shakespeare. (They include a portrait of the priest and writer Francisco de la Peña that has a striking resemblance to the English poet). On the evidence of these plates, which were made between 1635 and 1639, Schuckman attributed the portrait of Shakespeare to the younger Martin and suggested that the engraver had converted to Catholicism and emigrated to Spain in 1635, where he continued to work.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: How does Droeshout portrait explain its Authorship?

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger (1601 – after 1639), the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.Research by Mary Edmond into the Droeshout family revealed new information about Martin Droeshout the Elder (c. 1560s – 1642), who was the uncle of the younger Martin. Edmond shows that Droeshout the Elder was a member of the Painter-Stainer's Company. Edmond writes,It seems perverse to attribute the Shakespeare engraving to the obscure and unsuitably young Martin Droeshout, born in 1601, as is customary, when there is a quite well-documented artist of the same name to hand, in the person of his uncle".In 1991 Christiaan Schuckman discovered a set of signed plates in Madrid, Spain, that can be attributed to the engraver of the First Folio portrait. These plates bear Droeshout's signature and are stylistically similar to his portrait of Shakespeare. (They include a portrait of the priest and writer Francisco de la Peña that has a striking resemblance to the English poet). On the evidence of these plates, which were made between 1635 and 1639, Schuckman attributed the portrait of Shakespeare to the younger Martin and suggested that the engraver had converted to Catholicism and emigrated to Spain in 1635, where he continued to work.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In Droeshout portrait, how is the Authorship discussed?

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger (1601 – after 1639), the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.Research by Mary Edmond into the Droeshout family revealed new information about Martin Droeshout the Elder (c. 1560s – 1642), who was the uncle of the younger Martin. Edmond shows that Droeshout the Elder was a member of the Painter-Stainer's Company. Edmond writes,It seems perverse to attribute the Shakespeare engraving to the obscure and unsuitably young Martin Droeshout, born in 1601, as is customary, when there is a quite well-documented artist of the same name to hand, in the person of his uncle".In 1991 Christiaan Schuckman discovered a set of signed plates in Madrid, Spain, that can be attributed to the engraver of the First Folio portrait. These plates bear Droeshout's signature and are stylistically similar to his portrait of Shakespeare. (They include a portrait of the priest and writer Francisco de la Peña that has a striking resemblance to the English poet). On the evidence of these plates, which were made between 1635 and 1639, Schuckman attributed the portrait of Shakespeare to the younger Martin and suggested that the engraver had converted to Catholicism and emigrated to Spain in 1635, where he continued to work.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Focus on Droeshout portrait and explain the Significance.

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book.Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,It is, as I may say, the key to unlock and detect almost all the impositions that have, at various times, arrested so much of public attention. It is a witness that can refute all false evidence, and will satisfy every discerner, how to appreciate, how to convict.In a similar vein, art historian Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Explain the Significance of this artwork, Droeshout portrait.

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book.Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,It is, as I may say, the key to unlock and detect almost all the impositions that have, at various times, arrested so much of public attention. It is a witness that can refute all false evidence, and will satisfy every discerner, how to appreciate, how to convict.In a similar vein, art historian Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: How does Droeshout portrait explain its Significance?

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book.Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,It is, as I may say, the key to unlock and detect almost all the impositions that have, at various times, arrested so much of public attention. It is a witness that can refute all false evidence, and will satisfy every discerner, how to appreciate, how to convict.In a similar vein, art historian Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In Droeshout portrait, how is the Significance discussed?

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book.Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,It is, as I may say, the key to unlock and detect almost all the impositions that have, at various times, arrested so much of public attention. It is a witness that can refute all false evidence, and will satisfy every discerner, how to appreciate, how to convict.In a similar vein, art historian Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In the context of Droeshout portrait, explain the Source image and the Significance.

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice.In the 19th century a painting that came to be known as the Flower portrait was discovered, inscribed with the date 1609 and painted on an authentic 17th-century panel. It was initially widely accepted as the original work from which Droeshout had copied his engraving, but in 1905 the art scholar Marion Spielmann demonstrated that the portrait corresponded to  the second state of Droeshout's print. Taking the view that if it were the source, the first state would be closest, he concluded that it was a copy from the print. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: Explain the Source image about the Significance of this artwork, Droeshout portrait.

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice.In the 19th century a painting that came to be known as the Flower portrait was discovered, inscribed with the date 1609 and painted on an authentic 17th-century panel. It was initially widely accepted as the original work from which Droeshout had copied his engraving, but in 1905 the art scholar Marion Spielmann demonstrated that the portrait corresponded to  the second state of Droeshout's print. Taking the view that if it were the source, the first state would be closest, he concluded that it was a copy from the print. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.


Droeshout portrait

Prompt: In Droeshout portrait, how is the Source image of the Significance explained?

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice.In the 19th century a painting that came to be known as the Flower portrait was discovered, inscribed with the date 1609 and painted on an authentic 17th-century panel. It was initially widely accepted as the original work from which Droeshout had copied his engraving, but in 1905 the art scholar Marion Spielmann demonstrated that the portrait corresponded to  the second state of Droeshout's print. Taking the view that if it were the source, the first state would be closest, he concluded that it was a copy from the print. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Droushout's signature, under the image at the left

A stylised version of the Droeshout portrait in the brickwork of a house in Stratford Road, [[Heaton, Newcastle

Category:Portraits of William Shakespeare

National Portrait Gallery (United Kingdom)

Category:Conspiracy theories in the United Kingdom

The double line created by the space between the shadow-line above the jaw and the jawline itself is claimed by some conspiracy theorists to suggest that Shakespeare's face is a mask.