Virgin of Vladimir

Prompt: Focus on Virgin of Vladimir and explain the Description.

The icon is a tempera painting on wood, 106 by 69 centimetres (42 in × 27 in) in size, with the central 78 by 55 centimetres (31 in × 22 in) portion being original and the rest being a later expansion undertaken possibly to accommodate a larger riza. The icon depicts Jesus Christ as a child being held in the arms of his mother, Mary. They embrace cheek to cheek, with the child gazing towards and reaching for Mary. She holds him with one arm and solemnly looks out towards the viewer. The faces and hands are painted with greenish olive sankir, a mix of ochre pigment and soot, and transparent layers of brighter ochre; the child's face is rendered in a lighter shade than the mother's, perhaps to reflect the difference in their age. The child's clothes are painted with dark ochre and gold. The original painting bore the inscription ΜΡ ΘΥ, an abbreviation for 'Mother of God', of which only parts survive.In its nine centuries of existence, the icon has been restored and overpainted at least five times to deal with damage and deterioration, including a fifteenth century restoration thought to have been led by Andrei Rublev. It is mainly the faces of Mary and Jesus and the gold ground above her head that are original twelfth-century paint. In the past, the icon has been covered with several elaborately designed oklad and riza (revetments) which caused damage to the frame. The reverse, which is much less well known, contains an image of the Hetoimasia ('prepared throne') and instruments of Christ's Passion that was painted in c. 14th century (prior to that the reverse side had a painting of an unidentified saint).Among icons of Virgin Mary with Jesus, Our lady of Vladimir is classed as an Eleusa icon (Russian: Oumilenie), due to the tender attachment between mother and child. Theologians and believers have also commented upon the icons symbology and the religious sentiments it inspires. Contemplating the icon, theologian Henri Nouwen, remarked that the Virgin's eyes glance at neither the child or the viewer but appear to "look inward and outward at once"; that her free hand gestures towards the baby to "open a space for us to approach Jesus without fear"; and, that the child is shown as "a wise man dressed in adult clothes." Literary scholar, S. S. Averintsev interpreted the mix of maternal tenderness and poignant sorrow seen in Mary's expression, as representative of the emotions generated by the events of Nativity and Calvary, respectively. Jesus's bare feet are seen as symbolizing his physical reality; his garments of gold, the Kingdom of Heaven; and the three stars on Mary's dress (one occluded by the child), "her virginity before, during and after her son's birth."Its artistic quality has been highly praised. Art historian David Talbot Rice said that "[Our Lady of Vladimir] ...is admitted by all who have seen it to be one of the most outstanding religious paintings of the world." Art historian George Heard Hamilton praises its "craftsmanship and conception", and notes how in its representation of the subject's faces, the icon subtly transitions from its normal use of contour lines to a refined surface texture. It is painted in an artistic style typical for Byzantine art of the period with features including smaller mouths, refined eyes, and elongating Mary's nose. However, by avoiding the use of demarcating line, as became common in later Byzantine art, and by setting up the complex interplay of the mother and child's glances, the icon adds to the illusion of life in the piece. The child's features are reminiscent of classical sculpture, though the artist renders an expression truer to an actual infant's. The expressive and humanistic character of the icon differentiates it from earlier Byzantine art and exemplify the artistic developments seen during the Komnenos dynasty.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the Description of this artwork, Virgin of Vladimir.

The icon is a tempera painting on wood, 106 by 69 centimetres (42 in × 27 in) in size, with the central 78 by 55 centimetres (31 in × 22 in) portion being original and the rest being a later expansion undertaken possibly to accommodate a larger riza. The icon depicts Jesus Christ as a child being held in the arms of his mother, Mary. They embrace cheek to cheek, with the child gazing towards and reaching for Mary. She holds him with one arm and solemnly looks out towards the viewer. The faces and hands are painted with greenish olive sankir, a mix of ochre pigment and soot, and transparent layers of brighter ochre; the child's face is rendered in a lighter shade than the mother's, perhaps to reflect the difference in their age. The child's clothes are painted with dark ochre and gold. The original painting bore the inscription ΜΡ ΘΥ, an abbreviation for 'Mother of God', of which only parts survive.In its nine centuries of existence, the icon has been restored and overpainted at least five times to deal with damage and deterioration, including a fifteenth century restoration thought to have been led by Andrei Rublev. It is mainly the faces of Mary and Jesus and the gold ground above her head that are original twelfth-century paint. In the past, the icon has been covered with several elaborately designed oklad and riza (revetments) which caused damage to the frame. The reverse, which is much less well known, contains an image of the Hetoimasia ('prepared throne') and instruments of Christ's Passion that was painted in c. 14th century (prior to that the reverse side had a painting of an unidentified saint).Among icons of Virgin Mary with Jesus, Our lady of Vladimir is classed as an Eleusa icon (Russian: Oumilenie), due to the tender attachment between mother and child. Theologians and believers have also commented upon the icons symbology and the religious sentiments it inspires. Contemplating the icon, theologian Henri Nouwen, remarked that the Virgin's eyes glance at neither the child or the viewer but appear to "look inward and outward at once"; that her free hand gestures towards the baby to "open a space for us to approach Jesus without fear"; and, that the child is shown as "a wise man dressed in adult clothes." Literary scholar, S. S. Averintsev interpreted the mix of maternal tenderness and poignant sorrow seen in Mary's expression, as representative of the emotions generated by the events of Nativity and Calvary, respectively. Jesus's bare feet are seen as symbolizing his physical reality; his garments of gold, the Kingdom of Heaven; and the three stars on Mary's dress (one occluded by the child), "her virginity before, during and after her son's birth."Its artistic quality has been highly praised. Art historian David Talbot Rice said that "[Our Lady of Vladimir] ...is admitted by all who have seen it to be one of the most outstanding religious paintings of the world." Art historian George Heard Hamilton praises its "craftsmanship and conception", and notes how in its representation of the subject's faces, the icon subtly transitions from its normal use of contour lines to a refined surface texture. It is painted in an artistic style typical for Byzantine art of the period with features including smaller mouths, refined eyes, and elongating Mary's nose. However, by avoiding the use of demarcating line, as became common in later Byzantine art, and by setting up the complex interplay of the mother and child's glances, the icon adds to the illusion of life in the piece. The child's features are reminiscent of classical sculpture, though the artist renders an expression truer to an actual infant's. The expressive and humanistic character of the icon differentiates it from earlier Byzantine art and exemplify the artistic developments seen during the Komnenos dynasty.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: How does Virgin of Vladimir explain its Description?

The icon is a tempera painting on wood, 106 by 69 centimetres (42 in × 27 in) in size, with the central 78 by 55 centimetres (31 in × 22 in) portion being original and the rest being a later expansion undertaken possibly to accommodate a larger riza. The icon depicts Jesus Christ as a child being held in the arms of his mother, Mary. They embrace cheek to cheek, with the child gazing towards and reaching for Mary. She holds him with one arm and solemnly looks out towards the viewer. The faces and hands are painted with greenish olive sankir, a mix of ochre pigment and soot, and transparent layers of brighter ochre; the child's face is rendered in a lighter shade than the mother's, perhaps to reflect the difference in their age. The child's clothes are painted with dark ochre and gold. The original painting bore the inscription ΜΡ ΘΥ, an abbreviation for 'Mother of God', of which only parts survive.In its nine centuries of existence, the icon has been restored and overpainted at least five times to deal with damage and deterioration, including a fifteenth century restoration thought to have been led by Andrei Rublev. It is mainly the faces of Mary and Jesus and the gold ground above her head that are original twelfth-century paint. In the past, the icon has been covered with several elaborately designed oklad and riza (revetments) which caused damage to the frame. The reverse, which is much less well known, contains an image of the Hetoimasia ('prepared throne') and instruments of Christ's Passion that was painted in c. 14th century (prior to that the reverse side had a painting of an unidentified saint).Among icons of Virgin Mary with Jesus, Our lady of Vladimir is classed as an Eleusa icon (Russian: Oumilenie), due to the tender attachment between mother and child. Theologians and believers have also commented upon the icons symbology and the religious sentiments it inspires. Contemplating the icon, theologian Henri Nouwen, remarked that the Virgin's eyes glance at neither the child or the viewer but appear to "look inward and outward at once"; that her free hand gestures towards the baby to "open a space for us to approach Jesus without fear"; and, that the child is shown as "a wise man dressed in adult clothes." Literary scholar, S. S. Averintsev interpreted the mix of maternal tenderness and poignant sorrow seen in Mary's expression, as representative of the emotions generated by the events of Nativity and Calvary, respectively. Jesus's bare feet are seen as symbolizing his physical reality; his garments of gold, the Kingdom of Heaven; and the three stars on Mary's dress (one occluded by the child), "her virginity before, during and after her son's birth."Its artistic quality has been highly praised. Art historian David Talbot Rice said that "[Our Lady of Vladimir] ...is admitted by all who have seen it to be one of the most outstanding religious paintings of the world." Art historian George Heard Hamilton praises its "craftsmanship and conception", and notes how in its representation of the subject's faces, the icon subtly transitions from its normal use of contour lines to a refined surface texture. It is painted in an artistic style typical for Byzantine art of the period with features including smaller mouths, refined eyes, and elongating Mary's nose. However, by avoiding the use of demarcating line, as became common in later Byzantine art, and by setting up the complex interplay of the mother and child's glances, the icon adds to the illusion of life in the piece. The child's features are reminiscent of classical sculpture, though the artist renders an expression truer to an actual infant's. The expressive and humanistic character of the icon differentiates it from earlier Byzantine art and exemplify the artistic developments seen during the Komnenos dynasty.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the Description discussed?

The icon is a tempera painting on wood, 106 by 69 centimetres (42 in × 27 in) in size, with the central 78 by 55 centimetres (31 in × 22 in) portion being original and the rest being a later expansion undertaken possibly to accommodate a larger riza. The icon depicts Jesus Christ as a child being held in the arms of his mother, Mary. They embrace cheek to cheek, with the child gazing towards and reaching for Mary. She holds him with one arm and solemnly looks out towards the viewer. The faces and hands are painted with greenish olive sankir, a mix of ochre pigment and soot, and transparent layers of brighter ochre; the child's face is rendered in a lighter shade than the mother's, perhaps to reflect the difference in their age. The child's clothes are painted with dark ochre and gold. The original painting bore the inscription ΜΡ ΘΥ, an abbreviation for 'Mother of God', of which only parts survive.In its nine centuries of existence, the icon has been restored and overpainted at least five times to deal with damage and deterioration, including a fifteenth century restoration thought to have been led by Andrei Rublev. It is mainly the faces of Mary and Jesus and the gold ground above her head that are original twelfth-century paint. In the past, the icon has been covered with several elaborately designed oklad and riza (revetments) which caused damage to the frame. The reverse, which is much less well known, contains an image of the Hetoimasia ('prepared throne') and instruments of Christ's Passion that was painted in c. 14th century (prior to that the reverse side had a painting of an unidentified saint).Among icons of Virgin Mary with Jesus, Our lady of Vladimir is classed as an Eleusa icon (Russian: Oumilenie), due to the tender attachment between mother and child. Theologians and believers have also commented upon the icons symbology and the religious sentiments it inspires. Contemplating the icon, theologian Henri Nouwen, remarked that the Virgin's eyes glance at neither the child or the viewer but appear to "look inward and outward at once"; that her free hand gestures towards the baby to "open a space for us to approach Jesus without fear"; and, that the child is shown as "a wise man dressed in adult clothes." Literary scholar, S. S. Averintsev interpreted the mix of maternal tenderness and poignant sorrow seen in Mary's expression, as representative of the emotions generated by the events of Nativity and Calvary, respectively. Jesus's bare feet are seen as symbolizing his physical reality; his garments of gold, the Kingdom of Heaven; and the three stars on Mary's dress (one occluded by the child), "her virginity before, during and after her son's birth."Its artistic quality has been highly praised. Art historian David Talbot Rice said that "[Our Lady of Vladimir] ...is admitted by all who have seen it to be one of the most outstanding religious paintings of the world." Art historian George Heard Hamilton praises its "craftsmanship and conception", and notes how in its representation of the subject's faces, the icon subtly transitions from its normal use of contour lines to a refined surface texture. It is painted in an artistic style typical for Byzantine art of the period with features including smaller mouths, refined eyes, and elongating Mary's nose. However, by avoiding the use of demarcating line, as became common in later Byzantine art, and by setting up the complex interplay of the mother and child's glances, the icon adds to the illusion of life in the piece. The child's features are reminiscent of classical sculpture, though the artist renders an expression truer to an actual infant's. The expressive and humanistic character of the icon differentiates it from earlier Byzantine art and exemplify the artistic developments seen during the Komnenos dynasty.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In the context of Virgin of Vladimir, explain the In Russian history and the Significance.

The icon is generally considered to be one of the most cherished symbols in Russian history. Academic David Miller has ascribed this to its close connection to Russian national consciousness throughout its existence. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our Lady of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the In Russian history about the Significance of this artwork, Virgin of Vladimir.

The icon is generally considered to be one of the most cherished symbols in Russian history. Academic David Miller has ascribed this to its close connection to Russian national consciousness throughout its existence. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our Lady of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the In Russian history of the Significance explained?

The icon is generally considered to be one of the most cherished symbols in Russian history. Academic David Miller has ascribed this to its close connection to Russian national consciousness throughout its existence. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our Lady of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Describe the characteristics of the In Russian history in Virgin of Vladimir's Significance.

The icon is generally considered to be one of the most cherished symbols in Russian history. Academic David Miller has ascribed this to its close connection to Russian national consciousness throughout its existence. Its transfer from Kiev to Vladimir was used by Bogolyubsky to legitimize Vladimir's claim as the new center of government in Kievan Rus'.Additionally, its intimate association with important Russian historical events gave Our Lady of Vladimir the distinction of being a national palladium. The most recent of these events being the 1993 Russian constitutional crisis when it was brought to the Epiphany Cathedral at the request of Patriarch Alexy II and Mayor of Moscow Yury Luzhkov in their attempt to bring peace to the country.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In the context of Virgin of Vladimir, explain the As a religious icon and the Significance.

Our Lady of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The venerated image has been used in celebration of coronations of tsars, elections of patriarchs, and other important ceremonies of state. The icon has three feast days held throughout the year in celebration to specific events it is associated with:3 June [O.S. 21 May] to celebrate Moscow's protection from Crimean Khan Mehmed Giray in 1521.6 July [O.S. 23 June] for, in 1480, for their victory against Khan Ahmed during the Great Stand on the Ugra River.8 September [O.S. 26 August] to commemorate the Muscovite deliverance from pending invasion by Tamerlane.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the As a religious icon about the Significance of this artwork, Virgin of Vladimir.

Our Lady of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The venerated image has been used in celebration of coronations of tsars, elections of patriarchs, and other important ceremonies of state. The icon has three feast days held throughout the year in celebration to specific events it is associated with:3 June [O.S. 21 May] to celebrate Moscow's protection from Crimean Khan Mehmed Giray in 1521.6 July [O.S. 23 June] for, in 1480, for their victory against Khan Ahmed during the Great Stand on the Ugra River.8 September [O.S. 26 August] to commemorate the Muscovite deliverance from pending invasion by Tamerlane.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the As a religious icon of the Significance explained?

Our Lady of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The venerated image has been used in celebration of coronations of tsars, elections of patriarchs, and other important ceremonies of state. The icon has three feast days held throughout the year in celebration to specific events it is associated with:3 June [O.S. 21 May] to celebrate Moscow's protection from Crimean Khan Mehmed Giray in 1521.6 July [O.S. 23 June] for, in 1480, for their victory against Khan Ahmed during the Great Stand on the Ugra River.8 September [O.S. 26 August] to commemorate the Muscovite deliverance from pending invasion by Tamerlane.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Describe the characteristics of the As a religious icon in Virgin of Vladimir's Significance.

Our Lady of Vladimir's veneration is also likely enhanced by the fact that the Theotokos is regarded as the holy protectress of Russia. The venerated image has been used in celebration of coronations of tsars, elections of patriarchs, and other important ceremonies of state. The icon has three feast days held throughout the year in celebration to specific events it is associated with:3 June [O.S. 21 May] to celebrate Moscow's protection from Crimean Khan Mehmed Giray in 1521.6 July [O.S. 23 June] for, in 1480, for their victory against Khan Ahmed during the Great Stand on the Ugra River.8 September [O.S. 26 August] to commemorate the Muscovite deliverance from pending invasion by Tamerlane.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Focus on Virgin of Vladimir and explain the Location and display.

Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum. Previously, there had been a contentious ownership dispute between the two.In 1997, the Tretyakov completed a full restoration of the church. Security improvements to store and display art were added, and an underground passageway was additionally made to connect it to the State Tretyakov Gallery. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our Lady of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the Location and display of this artwork, Virgin of Vladimir.

Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum. Previously, there had been a contentious ownership dispute between the two.In 1997, the Tretyakov completed a full restoration of the church. Security improvements to store and display art were added, and an underground passageway was additionally made to connect it to the State Tretyakov Gallery. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our Lady of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: How does Virgin of Vladimir explain its Location and display?

Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum. Previously, there had been a contentious ownership dispute between the two.In 1997, the Tretyakov completed a full restoration of the church. Security improvements to store and display art were added, and an underground passageway was additionally made to connect it to the State Tretyakov Gallery. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our Lady of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the Location and display discussed?

Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. As a result of an agreement between the Tretyakov and Moscow Patriarchate, the church is both an active Russian Orthodox house church and functioning museum. Previously, there had been a contentious ownership dispute between the two.In 1997, the Tretyakov completed a full restoration of the church. Security improvements to store and display art were added, and an underground passageway was additionally made to connect it to the State Tretyakov Gallery. In order to house the famous icon, a temperature controlled bulletproof glass case was commissioned. On 7 September 1996, Our Lady of Vladimir was first installed in the special case located within the church, and the next day Patriarch Alexy II consecrated the church. According to Archpriest Nikolai Sokolov, the rector for the church, the case would able to withstand the firing of a Kalashnikov rifle as well as many other potential hazards.Due to its dual status as both church and museum, visitors are allowed to pray before the icon and divine Liturgies are regularly held on selected days. However, visitors can only enter the church through the Tretyakov Gallery and via the underground passageway.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Focus on Virgin of Vladimir and explain the Copies and influence.

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the Copies and influence of this artwork, Virgin of Vladimir.

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: How does Virgin of Vladimir explain its Copies and influence?

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the Copies and influence discussed?

Even more than most, the original icon has been repeatedly duplicated for centuries, and many copies also have considerable artistic and religious significance of their own. According to Suzanne Massie, it became a standard for many Russian contemporary depictions of Mary.In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the abstract.

Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.  The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the abstract of this artwork, Bacchus and Ariadne.

Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.  The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its abstract?

Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.  The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the abstract discussed?

Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus. At the time of Raphael's death in 1520, only a preliminary drawing was completed. The commission was then handed to Titian. In the case of Bacchus and Ariadne, the subject matter was derived from the Roman poets Catullus and Ovid, and perhaps other classical authors.The painting, considered one of Titian's greatest works, is now in the National Gallery, London. The other major paintings in the cycle are The Feast of the Gods, mostly by Giovanni Bellini, now in the National Gallery of Art, Washington, D.C, and Titian's The Bacchanal of the Andrians and The Worship of Venus, both now in the Museo del Prado, Madrid.  The series was a very early treatment of subjects from classical mythology on a heroic scale in painting, rather than in small decorative pieces, and very influential on later works.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the Description.

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Another option is that Titian was asked by his patron Alfonso I d’Este to create cheetahs inspired by Imagines of Philostratus. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website describes the scene: "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of Laocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of Laocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature (TICIANVS) may also have been familiar to the Duke as one of the antiquities in his collection.Fern Luskin argues in “Titian's Bacchus and his two loves,” Titian represents not only Bacchus’ passion for Ariadne, but also his infatuation with a boy satyr, Ampelos, who struts at the center of the composition.  Bacchus’ love for Ampelos is told by the ancient Greek poet Nonnos in his Dionysiaca (Books 10 to 12).  Ampelos (meaning grapevine in Greek) merits such a prominent position in the painting because it was only through the boy’s death and metamorphosis into a grapevine that Bacchus was able to produce wine for the first time, thus giving life to Bacchus’ persona as the god of wine, the essence of his divinity.  According to Nonnos (Dionysiaca, 11. 236-7), when Ampelos died, the grief-stricken Bacchus garlanded the boy with ‘perishable anemone’ flowers.  This explains why Titian initially painted anemone flowers in Ampelos’ hair, now barely visible because he later replaced them with jasmine flowers.  Although anemone would have unmistakably identified the boy satyr as Ampelos, it “would have been anachronistic because, according to Nonnos (Dionysiaca, 11. 236-7), Bacchus crowned Ampelos with ‘perishable anemone’ after his death, whereas in Titian’s painting the boy is shown alive.” The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the Description of this artwork, Bacchus and Ariadne.

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Another option is that Titian was asked by his patron Alfonso I d’Este to create cheetahs inspired by Imagines of Philostratus. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website describes the scene: "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of Laocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of Laocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature (TICIANVS) may also have been familiar to the Duke as one of the antiquities in his collection.Fern Luskin argues in “Titian's Bacchus and his two loves,” Titian represents not only Bacchus’ passion for Ariadne, but also his infatuation with a boy satyr, Ampelos, who struts at the center of the composition.  Bacchus’ love for Ampelos is told by the ancient Greek poet Nonnos in his Dionysiaca (Books 10 to 12).  Ampelos (meaning grapevine in Greek) merits such a prominent position in the painting because it was only through the boy’s death and metamorphosis into a grapevine that Bacchus was able to produce wine for the first time, thus giving life to Bacchus’ persona as the god of wine, the essence of his divinity.  According to Nonnos (Dionysiaca, 11. 236-7), when Ampelos died, the grief-stricken Bacchus garlanded the boy with ‘perishable anemone’ flowers.  This explains why Titian initially painted anemone flowers in Ampelos’ hair, now barely visible because he later replaced them with jasmine flowers.  Although anemone would have unmistakably identified the boy satyr as Ampelos, it “would have been anachronistic because, according to Nonnos (Dionysiaca, 11. 236-7), Bacchus crowned Ampelos with ‘perishable anemone’ after his death, whereas in Titian’s painting the boy is shown alive.” The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its Description?

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Another option is that Titian was asked by his patron Alfonso I d’Este to create cheetahs inspired by Imagines of Philostratus. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website describes the scene: "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of Laocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of Laocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature (TICIANVS) may also have been familiar to the Duke as one of the antiquities in his collection.Fern Luskin argues in “Titian's Bacchus and his two loves,” Titian represents not only Bacchus’ passion for Ariadne, but also his infatuation with a boy satyr, Ampelos, who struts at the center of the composition.  Bacchus’ love for Ampelos is told by the ancient Greek poet Nonnos in his Dionysiaca (Books 10 to 12).  Ampelos (meaning grapevine in Greek) merits such a prominent position in the painting because it was only through the boy’s death and metamorphosis into a grapevine that Bacchus was able to produce wine for the first time, thus giving life to Bacchus’ persona as the god of wine, the essence of his divinity.  According to Nonnos (Dionysiaca, 11. 236-7), when Ampelos died, the grief-stricken Bacchus garlanded the boy with ‘perishable anemone’ flowers.  This explains why Titian initially painted anemone flowers in Ampelos’ hair, now barely visible because he later replaced them with jasmine flowers.  Although anemone would have unmistakably identified the boy satyr as Ampelos, it “would have been anachronistic because, according to Nonnos (Dionysiaca, 11. 236-7), Bacchus crowned Ampelos with ‘perishable anemone’ after his death, whereas in Titian’s painting the boy is shown alive.” The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the Description discussed?

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Another option is that Titian was asked by his patron Alfonso I d’Este to create cheetahs inspired by Imagines of Philostratus. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website describes the scene: "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of Laocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of Laocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature (TICIANVS) may also have been familiar to the Duke as one of the antiquities in his collection.Fern Luskin argues in “Titian's Bacchus and his two loves,” Titian represents not only Bacchus’ passion for Ariadne, but also his infatuation with a boy satyr, Ampelos, who struts at the center of the composition.  Bacchus’ love for Ampelos is told by the ancient Greek poet Nonnos in his Dionysiaca (Books 10 to 12).  Ampelos (meaning grapevine in Greek) merits such a prominent position in the painting because it was only through the boy’s death and metamorphosis into a grapevine that Bacchus was able to produce wine for the first time, thus giving life to Bacchus’ persona as the god of wine, the essence of his divinity.  According to Nonnos (Dionysiaca, 11. 236-7), when Ampelos died, the grief-stricken Bacchus garlanded the boy with ‘perishable anemone’ flowers.  This explains why Titian initially painted anemone flowers in Ampelos’ hair, now barely visible because he later replaced them with jasmine flowers.  Although anemone would have unmistakably identified the boy satyr as Ampelos, it “would have been anachronistic because, according to Nonnos (Dionysiaca, 11. 236-7), Bacchus crowned Ampelos with ‘perishable anemone’ after his death, whereas in Titian’s painting the boy is shown alive.” The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the Literary sources.

There is continued discussion about which work or works of ancient literature Titian's painting is based on. Titian himself did not read Latin, still less Greek, but he had a number of friends who could help him with details from classical works not yet translated into Italian.  Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image (many depictions show Bacchus seeing Ariadne for the first time while she is asleep). Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown. At the extreme right of the Bacchus and Ariadne is a shaggy Silenus holding a vine-clad staff.  According to Luskin, he is the vision Bacchus sees of Eros after Ampelos’ death who, as recounted by Nonnos (Dionysiaca, XI. 351-4), appears to the wine god ‘in the horned shape of a shaggy Seilenos…’ holding a fennel staff.  His staff, however, is not a thyrsus made from a fennel stalk.  It is a reed-pole.  But, it is no ordinary reed-pole.  This reed-pole was formerly Calamos (meaning reed), another of Bacchus’ young companions who metamorphosed into a reed after committing suicide in the Dionysiaca, 11. 369–481. The grapevine entwining the Silenus’ reed-pole is Ampelos undergoing his transformation into a grapevine before our very eyes, an event described by Nonnos in Book 12. 173–84.  This miraculously formed grapevine has not yet produced any grapes, only leaves and tendrils, because the Italian name for Ampelos, Pampino, means immature grapevine and Titian is showing the very beginning of his metamorphosis into a grapevine. The bullock’s leg the shaggy Silenus grasps in his other hand is based on Catullus’ line about the Sileni in Bacchus’ retinue who “hurled the limbs of a young bullock torn in pieces.”  Thus, this Silenus plays a dual role, that is, in his left hand, as Nonnos’ shaggy Silenus/Eros who supports himself on his staff, and in his right hand, as one of Catullus’ Sileni who celebrate the Bacchic mystery rites by flinging a bullock's leg.Luskin summarizes: “In his Bacchus and Ariadne, Titian seamlessly conflated the texts, or translations, of four ancient authors, adding a few motifs of his own invention, and included Bacchus' two love interests, one homosexual, the other, heterosexual, thereby creating a pictorial version of these stories that was completely unprecedented.  Telescoping time, the painter represented the god's current love, Ariadne, both in the alluring present and in the future, immortalized as a constellation [the Corona Borealis], and his former love, Ampelos, both as boy-satyr, and as the grapevine into which he was transformed.  He placed the wine god at the fulcrum of the composition, with Ariadne on the left and his past love, Ampelos, front and centre to emphasize that the god’s role as divine vintager was made possible by this young satyr.”Titian’s depiction of the shaggy Silenus and of Ampelos both as a boy satyr and in the process of metamorphosing into a grapevine that wreathes the Silenus’ reed-pole may suggest that Nonnos’ Dionysiaca was also a source for the Bacchus and Ariadne.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the Literary sources of this artwork, Bacchus and Ariadne.

There is continued discussion about which work or works of ancient literature Titian's painting is based on. Titian himself did not read Latin, still less Greek, but he had a number of friends who could help him with details from classical works not yet translated into Italian.  Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image (many depictions show Bacchus seeing Ariadne for the first time while she is asleep). Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown. At the extreme right of the Bacchus and Ariadne is a shaggy Silenus holding a vine-clad staff.  According to Luskin, he is the vision Bacchus sees of Eros after Ampelos’ death who, as recounted by Nonnos (Dionysiaca, XI. 351-4), appears to the wine god ‘in the horned shape of a shaggy Seilenos…’ holding a fennel staff.  His staff, however, is not a thyrsus made from a fennel stalk.  It is a reed-pole.  But, it is no ordinary reed-pole.  This reed-pole was formerly Calamos (meaning reed), another of Bacchus’ young companions who metamorphosed into a reed after committing suicide in the Dionysiaca, 11. 369–481. The grapevine entwining the Silenus’ reed-pole is Ampelos undergoing his transformation into a grapevine before our very eyes, an event described by Nonnos in Book 12. 173–84.  This miraculously formed grapevine has not yet produced any grapes, only leaves and tendrils, because the Italian name for Ampelos, Pampino, means immature grapevine and Titian is showing the very beginning of his metamorphosis into a grapevine. The bullock’s leg the shaggy Silenus grasps in his other hand is based on Catullus’ line about the Sileni in Bacchus’ retinue who “hurled the limbs of a young bullock torn in pieces.”  Thus, this Silenus plays a dual role, that is, in his left hand, as Nonnos’ shaggy Silenus/Eros who supports himself on his staff, and in his right hand, as one of Catullus’ Sileni who celebrate the Bacchic mystery rites by flinging a bullock's leg.Luskin summarizes: “In his Bacchus and Ariadne, Titian seamlessly conflated the texts, or translations, of four ancient authors, adding a few motifs of his own invention, and included Bacchus' two love interests, one homosexual, the other, heterosexual, thereby creating a pictorial version of these stories that was completely unprecedented.  Telescoping time, the painter represented the god's current love, Ariadne, both in the alluring present and in the future, immortalized as a constellation [the Corona Borealis], and his former love, Ampelos, both as boy-satyr, and as the grapevine into which he was transformed.  He placed the wine god at the fulcrum of the composition, with Ariadne on the left and his past love, Ampelos, front and centre to emphasize that the god’s role as divine vintager was made possible by this young satyr.”Titian’s depiction of the shaggy Silenus and of Ampelos both as a boy satyr and in the process of metamorphosing into a grapevine that wreathes the Silenus’ reed-pole may suggest that Nonnos’ Dionysiaca was also a source for the Bacchus and Ariadne.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its Literary sources?

There is continued discussion about which work or works of ancient literature Titian's painting is based on. Titian himself did not read Latin, still less Greek, but he had a number of friends who could help him with details from classical works not yet translated into Italian.  Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image (many depictions show Bacchus seeing Ariadne for the first time while she is asleep). Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown. At the extreme right of the Bacchus and Ariadne is a shaggy Silenus holding a vine-clad staff.  According to Luskin, he is the vision Bacchus sees of Eros after Ampelos’ death who, as recounted by Nonnos (Dionysiaca, XI. 351-4), appears to the wine god ‘in the horned shape of a shaggy Seilenos…’ holding a fennel staff.  His staff, however, is not a thyrsus made from a fennel stalk.  It is a reed-pole.  But, it is no ordinary reed-pole.  This reed-pole was formerly Calamos (meaning reed), another of Bacchus’ young companions who metamorphosed into a reed after committing suicide in the Dionysiaca, 11. 369–481. The grapevine entwining the Silenus’ reed-pole is Ampelos undergoing his transformation into a grapevine before our very eyes, an event described by Nonnos in Book 12. 173–84.  This miraculously formed grapevine has not yet produced any grapes, only leaves and tendrils, because the Italian name for Ampelos, Pampino, means immature grapevine and Titian is showing the very beginning of his metamorphosis into a grapevine. The bullock’s leg the shaggy Silenus grasps in his other hand is based on Catullus’ line about the Sileni in Bacchus’ retinue who “hurled the limbs of a young bullock torn in pieces.”  Thus, this Silenus plays a dual role, that is, in his left hand, as Nonnos’ shaggy Silenus/Eros who supports himself on his staff, and in his right hand, as one of Catullus’ Sileni who celebrate the Bacchic mystery rites by flinging a bullock's leg.Luskin summarizes: “In his Bacchus and Ariadne, Titian seamlessly conflated the texts, or translations, of four ancient authors, adding a few motifs of his own invention, and included Bacchus' two love interests, one homosexual, the other, heterosexual, thereby creating a pictorial version of these stories that was completely unprecedented.  Telescoping time, the painter represented the god's current love, Ariadne, both in the alluring present and in the future, immortalized as a constellation [the Corona Borealis], and his former love, Ampelos, both as boy-satyr, and as the grapevine into which he was transformed.  He placed the wine god at the fulcrum of the composition, with Ariadne on the left and his past love, Ampelos, front and centre to emphasize that the god’s role as divine vintager was made possible by this young satyr.”Titian’s depiction of the shaggy Silenus and of Ampelos both as a boy satyr and in the process of metamorphosing into a grapevine that wreathes the Silenus’ reed-pole may suggest that Nonnos’ Dionysiaca was also a source for the Bacchus and Ariadne.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the Literary sources discussed?

There is continued discussion about which work or works of ancient literature Titian's painting is based on. Titian himself did not read Latin, still less Greek, but he had a number of friends who could help him with details from classical works not yet translated into Italian.  Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image (many depictions show Bacchus seeing Ariadne for the first time while she is asleep). Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown. At the extreme right of the Bacchus and Ariadne is a shaggy Silenus holding a vine-clad staff.  According to Luskin, he is the vision Bacchus sees of Eros after Ampelos’ death who, as recounted by Nonnos (Dionysiaca, XI. 351-4), appears to the wine god ‘in the horned shape of a shaggy Seilenos…’ holding a fennel staff.  His staff, however, is not a thyrsus made from a fennel stalk.  It is a reed-pole.  But, it is no ordinary reed-pole.  This reed-pole was formerly Calamos (meaning reed), another of Bacchus’ young companions who metamorphosed into a reed after committing suicide in the Dionysiaca, 11. 369–481. The grapevine entwining the Silenus’ reed-pole is Ampelos undergoing his transformation into a grapevine before our very eyes, an event described by Nonnos in Book 12. 173–84.  This miraculously formed grapevine has not yet produced any grapes, only leaves and tendrils, because the Italian name for Ampelos, Pampino, means immature grapevine and Titian is showing the very beginning of his metamorphosis into a grapevine. The bullock’s leg the shaggy Silenus grasps in his other hand is based on Catullus’ line about the Sileni in Bacchus’ retinue who “hurled the limbs of a young bullock torn in pieces.”  Thus, this Silenus plays a dual role, that is, in his left hand, as Nonnos’ shaggy Silenus/Eros who supports himself on his staff, and in his right hand, as one of Catullus’ Sileni who celebrate the Bacchic mystery rites by flinging a bullock's leg.Luskin summarizes: “In his Bacchus and Ariadne, Titian seamlessly conflated the texts, or translations, of four ancient authors, adding a few motifs of his own invention, and included Bacchus' two love interests, one homosexual, the other, heterosexual, thereby creating a pictorial version of these stories that was completely unprecedented.  Telescoping time, the painter represented the god's current love, Ariadne, both in the alluring present and in the future, immortalized as a constellation [the Corona Borealis], and his former love, Ampelos, both as boy-satyr, and as the grapevine into which he was transformed.  He placed the wine god at the fulcrum of the composition, with Ariadne on the left and his past love, Ampelos, front and centre to emphasize that the god’s role as divine vintager was made possible by this young satyr.”Titian’s depiction of the shaggy Silenus and of Ampelos both as a boy satyr and in the process of metamorphosing into a grapevine that wreathes the Silenus’ reed-pole may suggest that Nonnos’ Dionysiaca was also a source for the Bacchus and Ariadne.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the Restoration.

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the Restoration of this artwork, Bacchus and Ariadne.

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its Restoration?

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the Restoration discussed?

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the Other paintings.

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni (1720–1725), in the LouvreGuido Reni (Los Angeles)Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the Other paintings of this artwork, Bacchus and Ariadne.

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni (1720–1725), in the LouvreGuido Reni (Los Angeles)Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its Other paintings?

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni (1720–1725), in the LouvreGuido Reni (Los Angeles)Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the Other paintings discussed?

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni (1720–1725), in the LouvreGuido Reni (Los Angeles)Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Focus on Bacchus and Ariadne and explain the References in other media.

John Keats alluded to this painting (which was brought to England in 1806) in his "Ode to a Nightingale" ("Away! away! for I will fly to thee, Not charioted by Bacchus and his pards") and in "Lamia" ("Upon her crest she wore a wannish fire/Sprinkled with stars, like Ariadne's tiar").Letitia Elizabeth Landon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: Explain the References in other media of this artwork, Bacchus and Ariadne.

John Keats alluded to this painting (which was brought to England in 1806) in his "Ode to a Nightingale" ("Away! away! for I will fly to thee, Not charioted by Bacchus and his pards") and in "Lamia" ("Upon her crest she wore a wannish fire/Sprinkled with stars, like Ariadne's tiar").Letitia Elizabeth Landon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: How does Bacchus and Ariadne explain its References in other media?

John Keats alluded to this painting (which was brought to England in 1806) in his "Ode to a Nightingale" ("Away! away! for I will fly to thee, Not charioted by Bacchus and his pards") and in "Lamia" ("Upon her crest she wore a wannish fire/Sprinkled with stars, like Ariadne's tiar").Letitia Elizabeth Landon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro


Bacchus and Ariadne

Prompt: In Bacchus and Ariadne, how is the References in other media discussed?

John Keats alluded to this painting (which was brought to England in 1806) in his "Ode to a Nightingale" ("Away! away! for I will fly to thee, Not charioted by Bacchus and his pards") and in "Lamia" ("Upon her crest she wore a wannish fire/Sprinkled with stars, like Ariadne's tiar").Letitia Elizabeth Landon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Ariadne being discovered by Dionysus (Bacchus)

Category:Paintings based on works by Ovid

Category:Paintings by Titian in the National Gallery, London

s:Landon in The Literary Gazette 1822/Scene 2

Category:Mythological paintings by Titian

Category:Paintings commissioned for the camerini d'alabastro