Prompt: Explain the Description of this artwork, Virgin Glykofilousa with the Akathist Hymn (Tzangarolas).

The Virgin Glykofilousa with the Akathist Hymn is an egg tempera painting with gold leaf on a wood panel. The height is 92 cm (36.2 in) and the width: 65 cm (25.5 in).  The work was completed in 1700.  The work exhibits a mixture of the Greek Baroque, Late Cretan School, and the Rococo.  Both Emmanuel Tzanes and Ioannis Moskos implemented stylistically similar elements the Rococo decorative gold background was common two both artists.  Tzangarola decorated his work with complex rococo patterns namely above the Virgin's head.  On the same ornate Rococo decoration, two seraphim appear to our left and right.  Below the decoration are the classic symbols ΜΡ ΘΥ.  Τhe letters ΜΡ ΘΥ are short for ΜΗΤΗΡ ΘΕΟΥ, it means Mother of God.  The Greek symbols are on countless Greek and Italian paintings.The Virgin and Child appear in the traditional glykophilousa (Virgin of the sweet kiss) or the eleusa Virgin (Virgin of compassion) position.  The Virgin has a humble expression of innocence as she looks at her viewers.  She embraces the infant Christ.  Both figures are painted in the Italian manner. The painter adds realism while combining the maniera greca and the Italian style.The Virgin and Child are weightless figures floating in space.  The young majestic boy relays innocence, charm, and charisma.  His reddish curly hair is the same color as the Theotokos.  His small hand embraces his mother as she tightly holds her child.  His right foot is arched as it rests on her garment. The Virgin's garment is painted in rich detail and color and is gracefully arranged in loose folds.  The gold trim of her sumptuous gown is representative of the celestial realm from which she has descended.Twenty-four scenes surround the heavenly figures.  Each scene depicts a pictorial story of the Akathist Hymn. Most of the small scenes depict an illustration from the life of the Virgin Mary.  The nativity, crucifixion, and resurrection are included.  The artist adds spacial depth and three-dimensionality to each frame.

Category:Paintings of the Heptanese school


Prompt: How does Virgin Glykofilousa with the Akathist Hymn (Tzangarolas) explain its Description?

The Virgin Glykofilousa with the Akathist Hymn is an egg tempera painting with gold leaf on a wood panel. The height is 92 cm (36.2 in) and the width: 65 cm (25.5 in).  The work was completed in 1700.  The work exhibits a mixture of the Greek Baroque, Late Cretan School, and the Rococo.  Both Emmanuel Tzanes and Ioannis Moskos implemented stylistically similar elements the Rococo decorative gold background was common two both artists.  Tzangarola decorated his work with complex rococo patterns namely above the Virgin's head.  On the same ornate Rococo decoration, two seraphim appear to our left and right.  Below the decoration are the classic symbols ΜΡ ΘΥ.  Τhe letters ΜΡ ΘΥ are short for ΜΗΤΗΡ ΘΕΟΥ, it means Mother of God.  The Greek symbols are on countless Greek and Italian paintings.The Virgin and Child appear in the traditional glykophilousa (Virgin of the sweet kiss) or the eleusa Virgin (Virgin of compassion) position.  The Virgin has a humble expression of innocence as she looks at her viewers.  She embraces the infant Christ.  Both figures are painted in the Italian manner. The painter adds realism while combining the maniera greca and the Italian style.The Virgin and Child are weightless figures floating in space.  The young majestic boy relays innocence, charm, and charisma.  His reddish curly hair is the same color as the Theotokos.  His small hand embraces his mother as she tightly holds her child.  His right foot is arched as it rests on her garment. The Virgin's garment is painted in rich detail and color and is gracefully arranged in loose folds.  The gold trim of her sumptuous gown is representative of the celestial realm from which she has descended.Twenty-four scenes surround the heavenly figures.  Each scene depicts a pictorial story of the Akathist Hymn. Most of the small scenes depict an illustration from the life of the Virgin Mary.  The nativity, crucifixion, and resurrection are included.  The artist adds spacial depth and three-dimensionality to each frame.

Category:Paintings of the Heptanese school


Prompt: In Virgin Glykofilousa with the Akathist Hymn (Tzangarolas), how is the Description discussed?

The Virgin Glykofilousa with the Akathist Hymn is an egg tempera painting with gold leaf on a wood panel. The height is 92 cm (36.2 in) and the width: 65 cm (25.5 in).  The work was completed in 1700.  The work exhibits a mixture of the Greek Baroque, Late Cretan School, and the Rococo.  Both Emmanuel Tzanes and Ioannis Moskos implemented stylistically similar elements the Rococo decorative gold background was common two both artists.  Tzangarola decorated his work with complex rococo patterns namely above the Virgin's head.  On the same ornate Rococo decoration, two seraphim appear to our left and right.  Below the decoration are the classic symbols ΜΡ ΘΥ.  Τhe letters ΜΡ ΘΥ are short for ΜΗΤΗΡ ΘΕΟΥ, it means Mother of God.  The Greek symbols are on countless Greek and Italian paintings.The Virgin and Child appear in the traditional glykophilousa (Virgin of the sweet kiss) or the eleusa Virgin (Virgin of compassion) position.  The Virgin has a humble expression of innocence as she looks at her viewers.  She embraces the infant Christ.  Both figures are painted in the Italian manner. The painter adds realism while combining the maniera greca and the Italian style.The Virgin and Child are weightless figures floating in space.  The young majestic boy relays innocence, charm, and charisma.  His reddish curly hair is the same color as the Theotokos.  His small hand embraces his mother as she tightly holds her child.  His right foot is arched as it rests on her garment. The Virgin's garment is painted in rich detail and color and is gracefully arranged in loose folds.  The gold trim of her sumptuous gown is representative of the celestial realm from which she has descended.Twenty-four scenes surround the heavenly figures.  Each scene depicts a pictorial story of the Akathist Hymn. Most of the small scenes depict an illustration from the life of the Virgin Mary.  The nativity, crucifixion, and resurrection are included.  The artist adds spacial depth and three-dimensionality to each frame.

Category:Paintings of the Heptanese school


Cluster of Four Cubes

Prompt: Focus on Cluster of Four Cubes and explain the abstract.

Cluster of Four Cubes is a 1992 kinetic stainless steel sculpture by George Rickey, installed at the National Gallery of Art Sculpture Garden in Washington, D.C., United States.There is also a sculpture installed at St. Lawrence University in Canton, New York.

Category:Abstract sculptures in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Outdoor sculptures in New York (state)

Category:Kinetic sculptures in the United States

List of public art in Washington, D.C., Ward 2

Category:Stainless steel sculptures in the United States


Cluster of Four Cubes

Prompt: Explain the abstract of this artwork, Cluster of Four Cubes.

Cluster of Four Cubes is a 1992 kinetic stainless steel sculpture by George Rickey, installed at the National Gallery of Art Sculpture Garden in Washington, D.C., United States.There is also a sculpture installed at St. Lawrence University in Canton, New York.

Category:Abstract sculptures in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Outdoor sculptures in New York (state)

Category:Kinetic sculptures in the United States

List of public art in Washington, D.C., Ward 2

Category:Stainless steel sculptures in the United States


Cluster of Four Cubes

Prompt: How does Cluster of Four Cubes explain its abstract?

Cluster of Four Cubes is a 1992 kinetic stainless steel sculpture by George Rickey, installed at the National Gallery of Art Sculpture Garden in Washington, D.C., United States.There is also a sculpture installed at St. Lawrence University in Canton, New York.

Category:Abstract sculptures in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Outdoor sculptures in New York (state)

Category:Kinetic sculptures in the United States

List of public art in Washington, D.C., Ward 2

Category:Stainless steel sculptures in the United States


Cluster of Four Cubes

Prompt: In Cluster of Four Cubes, how is the abstract discussed?

Cluster of Four Cubes is a 1992 kinetic stainless steel sculpture by George Rickey, installed at the National Gallery of Art Sculpture Garden in Washington, D.C., United States.There is also a sculpture installed at St. Lawrence University in Canton, New York.

Category:Abstract sculptures in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Outdoor sculptures in New York (state)

Category:Kinetic sculptures in the United States

List of public art in Washington, D.C., Ward 2

Category:Stainless steel sculptures in the United States


Study for the Virgin's Right Arm

Prompt: Focus on Study for the Virgin's Right Arm and explain the abstract.

The Study for the Virgin's Right Arm is a drawing by the Florentine painter Leonardo da Vinci that is kept at Windsor Castle in the United Kingdom. It is drawn in charcoal or black stone, grey chalk, ink, and white gouache highlights on red-tinted paper.Probably created between 1507 and 1510, the drawing is a preparatory study for the draped arm of the Virgin Mary in the painting The Virgin and Child with Saint Anne in the Musée du Louvre. It belongs to a series of studies, most of which date from the beginning of the painting's creation in 1502–1503, each dedicated to one of its details.The motif represents the artist's virtuosity, the result of years of technical research into materials and scientific research into light and shade, so that it appears both as a substantial improvement on the original motif and as evidence of the evolution of the painter's technical skills since his beginnings.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Explain the abstract of this artwork, Study for the Virgin's Right Arm.

The Study for the Virgin's Right Arm is a drawing by the Florentine painter Leonardo da Vinci that is kept at Windsor Castle in the United Kingdom. It is drawn in charcoal or black stone, grey chalk, ink, and white gouache highlights on red-tinted paper.Probably created between 1507 and 1510, the drawing is a preparatory study for the draped arm of the Virgin Mary in the painting The Virgin and Child with Saint Anne in the Musée du Louvre. It belongs to a series of studies, most of which date from the beginning of the painting's creation in 1502–1503, each dedicated to one of its details.The motif represents the artist's virtuosity, the result of years of technical research into materials and scientific research into light and shade, so that it appears both as a substantial improvement on the original motif and as evidence of the evolution of the painter's technical skills since his beginnings.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: How does Study for the Virgin's Right Arm explain its abstract?

The Study for the Virgin's Right Arm is a drawing by the Florentine painter Leonardo da Vinci that is kept at Windsor Castle in the United Kingdom. It is drawn in charcoal or black stone, grey chalk, ink, and white gouache highlights on red-tinted paper.Probably created between 1507 and 1510, the drawing is a preparatory study for the draped arm of the Virgin Mary in the painting The Virgin and Child with Saint Anne in the Musée du Louvre. It belongs to a series of studies, most of which date from the beginning of the painting's creation in 1502–1503, each dedicated to one of its details.The motif represents the artist's virtuosity, the result of years of technical research into materials and scientific research into light and shade, so that it appears both as a substantial improvement on the original motif and as evidence of the evolution of the painter's technical skills since his beginnings.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In Study for the Virgin's Right Arm, how is the abstract discussed?

The Study for the Virgin's Right Arm is a drawing by the Florentine painter Leonardo da Vinci that is kept at Windsor Castle in the United Kingdom. It is drawn in charcoal or black stone, grey chalk, ink, and white gouache highlights on red-tinted paper.Probably created between 1507 and 1510, the drawing is a preparatory study for the draped arm of the Virgin Mary in the painting The Virgin and Child with Saint Anne in the Musée du Louvre. It belongs to a series of studies, most of which date from the beginning of the painting's creation in 1502–1503, each dedicated to one of its details.The motif represents the artist's virtuosity, the result of years of technical research into materials and scientific research into light and shade, so that it appears both as a substantial improvement on the original motif and as evidence of the evolution of the painter's technical skills since his beginnings.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Focus on Study for the Virgin's Right Arm and explain the Description.

The Study for the Virgin's Right Arm is based on a rectangular piece of paper, 8.6 × 17.0 cm, prepared in orange-red chalk. Three of its corners have been cut off, and according to its value in Francesco Melzi's collection, this paper is numbered 213.The drawing is traced in charcoal or black stone, then repeated in nib and ink, it is coloured with grey chalk, followed by a wash of brown ink, with highlights of white gouache and some hatching in red chalk. Also, it features a drape depicting a thin, transparent cloth enveloping a person's right arm. The hand facing upwards is almost entirely shaded, holding what appears to be a cloth. While the hand is depicted, the shoulder, which includes the rest of the woman's clothing, appears only as a faint sketch in black stone.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Explain the Description of this artwork, Study for the Virgin's Right Arm.

The Study for the Virgin's Right Arm is based on a rectangular piece of paper, 8.6 × 17.0 cm, prepared in orange-red chalk. Three of its corners have been cut off, and according to its value in Francesco Melzi's collection, this paper is numbered 213.The drawing is traced in charcoal or black stone, then repeated in nib and ink, it is coloured with grey chalk, followed by a wash of brown ink, with highlights of white gouache and some hatching in red chalk. Also, it features a drape depicting a thin, transparent cloth enveloping a person's right arm. The hand facing upwards is almost entirely shaded, holding what appears to be a cloth. While the hand is depicted, the shoulder, which includes the rest of the woman's clothing, appears only as a faint sketch in black stone.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: How does Study for the Virgin's Right Arm explain its Description?

The Study for the Virgin's Right Arm is based on a rectangular piece of paper, 8.6 × 17.0 cm, prepared in orange-red chalk. Three of its corners have been cut off, and according to its value in Francesco Melzi's collection, this paper is numbered 213.The drawing is traced in charcoal or black stone, then repeated in nib and ink, it is coloured with grey chalk, followed by a wash of brown ink, with highlights of white gouache and some hatching in red chalk. Also, it features a drape depicting a thin, transparent cloth enveloping a person's right arm. The hand facing upwards is almost entirely shaded, holding what appears to be a cloth. While the hand is depicted, the shoulder, which includes the rest of the woman's clothing, appears only as a faint sketch in black stone.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In Study for the Virgin's Right Arm, how is the Description discussed?

The Study for the Virgin's Right Arm is based on a rectangular piece of paper, 8.6 × 17.0 cm, prepared in orange-red chalk. Three of its corners have been cut off, and according to its value in Francesco Melzi's collection, this paper is numbered 213.The drawing is traced in charcoal or black stone, then repeated in nib and ink, it is coloured with grey chalk, followed by a wash of brown ink, with highlights of white gouache and some hatching in red chalk. Also, it features a drape depicting a thin, transparent cloth enveloping a person's right arm. The hand facing upwards is almost entirely shaded, holding what appears to be a cloth. While the hand is depicted, the shoulder, which includes the rest of the woman's clothing, appears only as a faint sketch in black stone.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In the context of Study for the Virgin's Right Arm, explain the Context of creation and the History.

Leonardo da Vinci was about fifty-five years old when he created the Study for the Virgin's Right Arm around 1507–1510. In 1508, he began what is known as his "second Milanese period", which lasted until September 1513. He was famous not only in Italy but throughout Europe, and powerful patrons competed for his services as an engineer and artist, including King Louis XII of France and his subordinates – his Secretary of State, Florimond Robertet, and the governor he had sent to Milan, Charles d'Amboise. Leonardo da Vinci, who had fled from the French when the Duchy of Milan was invaded in 1499, finally entered the King's service in 1507.Although Leonardo da Vinci self-proclaimed his distance from painting, he produced several works during this period: Salvator Mundi (after 1507), La Scapigliata (1508), Leda and the Swan (1508). Since the turn of the century, he had also been working on a "Trinitarian Saint Anne", although it is not yet clear who commissioned it: the work now in the Louvre, begun in 1502–1503, was certainly still in draft form around 1507–1508 since the painter most likely abandoned it between 1504 and 1507.Two types of studies are directly related to this painting: those that enabled the creation of the painting board and those that constitute "the final changes decided by the master" and are therefore the furthest removed in time from it. The drawing for the Study for the Virgin's Right Arm, with the technique so typical of his work, belongs firmly to this second group. By this time, the painting was sufficiently advanced that it was no longer possible for Leonardo to modify the overall composition. His task was therefore to execute and perfect the details, including the drapery of the figures and the rocks surrounding them: he thus executed a dozen studies (including the Study for the Virgin's Right Arm) to refine what had initially been on the painting board.Other preparatory drawings for The Virgin and Child with Saint Anne and contemporary with the Study for the Virgin's Right Arm

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Explain the Context of creation about the History of this artwork, Study for the Virgin's Right Arm.

Leonardo da Vinci was about fifty-five years old when he created the Study for the Virgin's Right Arm around 1507–1510. In 1508, he began what is known as his "second Milanese period", which lasted until September 1513. He was famous not only in Italy but throughout Europe, and powerful patrons competed for his services as an engineer and artist, including King Louis XII of France and his subordinates – his Secretary of State, Florimond Robertet, and the governor he had sent to Milan, Charles d'Amboise. Leonardo da Vinci, who had fled from the French when the Duchy of Milan was invaded in 1499, finally entered the King's service in 1507.Although Leonardo da Vinci self-proclaimed his distance from painting, he produced several works during this period: Salvator Mundi (after 1507), La Scapigliata (1508), Leda and the Swan (1508). Since the turn of the century, he had also been working on a "Trinitarian Saint Anne", although it is not yet clear who commissioned it: the work now in the Louvre, begun in 1502–1503, was certainly still in draft form around 1507–1508 since the painter most likely abandoned it between 1504 and 1507.Two types of studies are directly related to this painting: those that enabled the creation of the painting board and those that constitute "the final changes decided by the master" and are therefore the furthest removed in time from it. The drawing for the Study for the Virgin's Right Arm, with the technique so typical of his work, belongs firmly to this second group. By this time, the painting was sufficiently advanced that it was no longer possible for Leonardo to modify the overall composition. His task was therefore to execute and perfect the details, including the drapery of the figures and the rocks surrounding them: he thus executed a dozen studies (including the Study for the Virgin's Right Arm) to refine what had initially been on the painting board.Other preparatory drawings for The Virgin and Child with Saint Anne and contemporary with the Study for the Virgin's Right Arm

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In Study for the Virgin's Right Arm, how is the Context of creation of the History explained?

Leonardo da Vinci was about fifty-five years old when he created the Study for the Virgin's Right Arm around 1507–1510. In 1508, he began what is known as his "second Milanese period", which lasted until September 1513. He was famous not only in Italy but throughout Europe, and powerful patrons competed for his services as an engineer and artist, including King Louis XII of France and his subordinates – his Secretary of State, Florimond Robertet, and the governor he had sent to Milan, Charles d'Amboise. Leonardo da Vinci, who had fled from the French when the Duchy of Milan was invaded in 1499, finally entered the King's service in 1507.Although Leonardo da Vinci self-proclaimed his distance from painting, he produced several works during this period: Salvator Mundi (after 1507), La Scapigliata (1508), Leda and the Swan (1508). Since the turn of the century, he had also been working on a "Trinitarian Saint Anne", although it is not yet clear who commissioned it: the work now in the Louvre, begun in 1502–1503, was certainly still in draft form around 1507–1508 since the painter most likely abandoned it between 1504 and 1507.Two types of studies are directly related to this painting: those that enabled the creation of the painting board and those that constitute "the final changes decided by the master" and are therefore the furthest removed in time from it. The drawing for the Study for the Virgin's Right Arm, with the technique so typical of his work, belongs firmly to this second group. By this time, the painting was sufficiently advanced that it was no longer possible for Leonardo to modify the overall composition. His task was therefore to execute and perfect the details, including the drapery of the figures and the rocks surrounding them: he thus executed a dozen studies (including the Study for the Virgin's Right Arm) to refine what had initially been on the painting board.Other preparatory drawings for The Virgin and Child with Saint Anne and contemporary with the Study for the Virgin's Right Arm

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Describe the characteristics of the Context of creation in Study for the Virgin's Right Arm's History.

Leonardo da Vinci was about fifty-five years old when he created the Study for the Virgin's Right Arm around 1507–1510. In 1508, he began what is known as his "second Milanese period", which lasted until September 1513. He was famous not only in Italy but throughout Europe, and powerful patrons competed for his services as an engineer and artist, including King Louis XII of France and his subordinates – his Secretary of State, Florimond Robertet, and the governor he had sent to Milan, Charles d'Amboise. Leonardo da Vinci, who had fled from the French when the Duchy of Milan was invaded in 1499, finally entered the King's service in 1507.Although Leonardo da Vinci self-proclaimed his distance from painting, he produced several works during this period: Salvator Mundi (after 1507), La Scapigliata (1508), Leda and the Swan (1508). Since the turn of the century, he had also been working on a "Trinitarian Saint Anne", although it is not yet clear who commissioned it: the work now in the Louvre, begun in 1502–1503, was certainly still in draft form around 1507–1508 since the painter most likely abandoned it between 1504 and 1507.Two types of studies are directly related to this painting: those that enabled the creation of the painting board and those that constitute "the final changes decided by the master" and are therefore the furthest removed in time from it. The drawing for the Study for the Virgin's Right Arm, with the technique so typical of his work, belongs firmly to this second group. By this time, the painting was sufficiently advanced that it was no longer possible for Leonardo to modify the overall composition. His task was therefore to execute and perfect the details, including the drapery of the figures and the rocks surrounding them: he thus executed a dozen studies (including the Study for the Virgin's Right Arm) to refine what had initially been on the painting board.Other preparatory drawings for The Virgin and Child with Saint Anne and contemporary with the Study for the Virgin's Right Arm

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In the context of Study for the Virgin's Right Arm, explain the Date Range and the History.

The research of art historians shows that the drawing belongs to the late studies for the painting, as indicated by the use of a technique characteristic of this period, particularly in the Étude pour le drapé de la Vierge.While Vincent Delieuvin suggests a date "around 1507–1510", Françoise Viatte and Carmen Bambach suggest "around 1508–1510". They rely on a technical comparison with a study of human and animal anatomy preserved at Windsor Castle under reference n° RCIN 12625: "The similar use of this technique reworked in nib and dark brown ink for the comparative anatomical study of human and equine legs may constitute a terminus post quem for the present work. The subtle pictorial effects of this Windsor drawing correspond in Leonardo's career to his later optical studies". Frank Zöllner and Johannes Nathan, for example, put the date "around 1501 – 1510 (?)".

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Explain the Date Range about the History of this artwork, Study for the Virgin's Right Arm.

The research of art historians shows that the drawing belongs to the late studies for the painting, as indicated by the use of a technique characteristic of this period, particularly in the Étude pour le drapé de la Vierge.While Vincent Delieuvin suggests a date "around 1507–1510", Françoise Viatte and Carmen Bambach suggest "around 1508–1510". They rely on a technical comparison with a study of human and animal anatomy preserved at Windsor Castle under reference n° RCIN 12625: "The similar use of this technique reworked in nib and dark brown ink for the comparative anatomical study of human and equine legs may constitute a terminus post quem for the present work. The subtle pictorial effects of this Windsor drawing correspond in Leonardo's career to his later optical studies". Frank Zöllner and Johannes Nathan, for example, put the date "around 1501 – 1510 (?)".

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In Study for the Virgin's Right Arm, how is the Date Range of the History explained?

The research of art historians shows that the drawing belongs to the late studies for the painting, as indicated by the use of a technique characteristic of this period, particularly in the Étude pour le drapé de la Vierge.While Vincent Delieuvin suggests a date "around 1507–1510", Françoise Viatte and Carmen Bambach suggest "around 1508–1510". They rely on a technical comparison with a study of human and animal anatomy preserved at Windsor Castle under reference n° RCIN 12625: "The similar use of this technique reworked in nib and dark brown ink for the comparative anatomical study of human and equine legs may constitute a terminus post quem for the present work. The subtle pictorial effects of this Windsor drawing correspond in Leonardo's career to his later optical studies". Frank Zöllner and Johannes Nathan, for example, put the date "around 1501 – 1510 (?)".

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Describe the characteristics of the Date Range in Study for the Virgin's Right Arm's History.

The research of art historians shows that the drawing belongs to the late studies for the painting, as indicated by the use of a technique characteristic of this period, particularly in the Étude pour le drapé de la Vierge.While Vincent Delieuvin suggests a date "around 1507–1510", Françoise Viatte and Carmen Bambach suggest "around 1508–1510". They rely on a technical comparison with a study of human and animal anatomy preserved at Windsor Castle under reference n° RCIN 12625: "The similar use of this technique reworked in nib and dark brown ink for the comparative anatomical study of human and equine legs may constitute a terminus post quem for the present work. The subtle pictorial effects of this Windsor drawing correspond in Leonardo's career to his later optical studies". Frank Zöllner and Johannes Nathan, for example, put the date "around 1501 – 1510 (?)".

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In the context of Study for the Virgin's Right Arm, explain the Attribution and path of the artwork and the History.

The Study for the Virgin's Right Arm is undoubtedly attributed to Leonardo da Vinci, based on the presence of typical left-hand hatching in sanguine. However, as argued by Carlo Pedretti and Kenneth Clark, and as noted on the website of the work's owner, it could have been retouched by someone else, especially the model's hand.The Study for the Virgin's Right Arm was part of the Melzi-Leoni Collection, a group of drawings and manuscripts by Leonardo da Vinci inherited by Francesco Melzi at his death in 1519 and dispersed by his son Orazio at his father's death in 1570. After a period of dispersion, this collection (including the drawing) was largely reassembled between 1582 and 1590 by Pompeo Leoni, who kept it in Madrid. Subsequently, after a period in Milan, the drawing arrived in London in the 1630s, in the collections of Thomas Howard, 14th Earl of Arundel, who had managed to acquire the second great compendium compiled by Pompeo Leoni and known today as the "Codex Windsor". Probably acquired by the British monarch Charles II, it was finally added to the Royal Collection at least as early as 1690 and appears in the inventory of the collection of the British King George III around 1810. It has been kept at Windsor Castle ever since.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Explain the Attribution and path of the artwork about the History of this artwork, Study for the Virgin's Right Arm.

The Study for the Virgin's Right Arm is undoubtedly attributed to Leonardo da Vinci, based on the presence of typical left-hand hatching in sanguine. However, as argued by Carlo Pedretti and Kenneth Clark, and as noted on the website of the work's owner, it could have been retouched by someone else, especially the model's hand.The Study for the Virgin's Right Arm was part of the Melzi-Leoni Collection, a group of drawings and manuscripts by Leonardo da Vinci inherited by Francesco Melzi at his death in 1519 and dispersed by his son Orazio at his father's death in 1570. After a period of dispersion, this collection (including the drawing) was largely reassembled between 1582 and 1590 by Pompeo Leoni, who kept it in Madrid. Subsequently, after a period in Milan, the drawing arrived in London in the 1630s, in the collections of Thomas Howard, 14th Earl of Arundel, who had managed to acquire the second great compendium compiled by Pompeo Leoni and known today as the "Codex Windsor". Probably acquired by the British monarch Charles II, it was finally added to the Royal Collection at least as early as 1690 and appears in the inventory of the collection of the British King George III around 1810. It has been kept at Windsor Castle ever since.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In Study for the Virgin's Right Arm, how is the Attribution and path of the artwork of the History explained?

The Study for the Virgin's Right Arm is undoubtedly attributed to Leonardo da Vinci, based on the presence of typical left-hand hatching in sanguine. However, as argued by Carlo Pedretti and Kenneth Clark, and as noted on the website of the work's owner, it could have been retouched by someone else, especially the model's hand.The Study for the Virgin's Right Arm was part of the Melzi-Leoni Collection, a group of drawings and manuscripts by Leonardo da Vinci inherited by Francesco Melzi at his death in 1519 and dispersed by his son Orazio at his father's death in 1570. After a period of dispersion, this collection (including the drawing) was largely reassembled between 1582 and 1590 by Pompeo Leoni, who kept it in Madrid. Subsequently, after a period in Milan, the drawing arrived in London in the 1630s, in the collections of Thomas Howard, 14th Earl of Arundel, who had managed to acquire the second great compendium compiled by Pompeo Leoni and known today as the "Codex Windsor". Probably acquired by the British monarch Charles II, it was finally added to the Royal Collection at least as early as 1690 and appears in the inventory of the collection of the British King George III around 1810. It has been kept at Windsor Castle ever since.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Describe the characteristics of the Attribution and path of the artwork in Study for the Virgin's Right Arm's History.

The Study for the Virgin's Right Arm is undoubtedly attributed to Leonardo da Vinci, based on the presence of typical left-hand hatching in sanguine. However, as argued by Carlo Pedretti and Kenneth Clark, and as noted on the website of the work's owner, it could have been retouched by someone else, especially the model's hand.The Study for the Virgin's Right Arm was part of the Melzi-Leoni Collection, a group of drawings and manuscripts by Leonardo da Vinci inherited by Francesco Melzi at his death in 1519 and dispersed by his son Orazio at his father's death in 1570. After a period of dispersion, this collection (including the drawing) was largely reassembled between 1582 and 1590 by Pompeo Leoni, who kept it in Madrid. Subsequently, after a period in Milan, the drawing arrived in London in the 1630s, in the collections of Thomas Howard, 14th Earl of Arundel, who had managed to acquire the second great compendium compiled by Pompeo Leoni and known today as the "Codex Windsor". Probably acquired by the British monarch Charles II, it was finally added to the Royal Collection at least as early as 1690 and appears in the inventory of the collection of the British King George III around 1810. It has been kept at Windsor Castle ever since.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Focus on Study for the Virgin's Right Arm and explain the A study for The Virgin and Child with Saint Anne.

The drawing Study for the Virgin's Right Arm is inextricably linked to the creation of the painting The Virgin and Child with Saint Anne, of which it constitutes a study. It was created at a time when the painter was working on his painting as a second intention, after a period of relative neglect during which he had devoted himself to other projects. The work was too far advanced to change the overall composition: Leonardo da Vinci could only modify the details. In the case of this study, he was interested in the draping effects of the slightly transparent veil that he wanted to give to the Virgin's garment, a garment that he now wanted to be more refined. This work on the young woman's arm and the drapery it supports is fundamental to the painting as an element that "plays a structural role in the composition of the painting, whose diagonal movement it supports". As for the hand, the painter chose to use a technique known as "red on red", which allowed him to "study more subtly the effects of light and shadow on the flesh tone".Some of the ornaments depicted later disappear from the painting, for example, what appears to be a knot just below the wrist is visible in the underdrawing of the painting thanks to infrared reflectography, but it disappears from the final result.Conversely, in his study of the cloth covering the young woman's shoulder, the painter ignores it and simply sketches it in black stone. He seems to be satisfied with the one transferred from the preparatory painting board of 1503 since he retains it. At the other end, he precisely draws the young woman's hand and has her hold a cloth: perhaps he imagines that the mother is holding her son by a band of cloth wrapped around his body. However, the same cloth can be seen in one of the drawings of the Études pour l'Enfant Jésus in the Gallerie dell'Accademia in Venice – a series of studies dating from 1503, much earlier than the Study for the Virgin's Right Arm. In Leonardo's mind, therefore, the two drawings would have been complementary, more than five years apart. But this idea never seems to have been transferred to the painting.Ultimately, the entire motif was taken up by members of the painter's studio for their versions of Saint Anne. These replicas – which Serge Bramly calls "prototypes" – were commissioned by the master, who used them to create his painting: by varying the details of the figures and the landscape, they served as tests to judge the overall rendering of his future work. As such, they bear witness to the progress of the painter's thinking about his future work.Comparison of the study and its realisation in the painting

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Explain the A study for The Virgin and Child with Saint Anne of this artwork, Study for the Virgin's Right Arm.

The drawing Study for the Virgin's Right Arm is inextricably linked to the creation of the painting The Virgin and Child with Saint Anne, of which it constitutes a study. It was created at a time when the painter was working on his painting as a second intention, after a period of relative neglect during which he had devoted himself to other projects. The work was too far advanced to change the overall composition: Leonardo da Vinci could only modify the details. In the case of this study, he was interested in the draping effects of the slightly transparent veil that he wanted to give to the Virgin's garment, a garment that he now wanted to be more refined. This work on the young woman's arm and the drapery it supports is fundamental to the painting as an element that "plays a structural role in the composition of the painting, whose diagonal movement it supports". As for the hand, the painter chose to use a technique known as "red on red", which allowed him to "study more subtly the effects of light and shadow on the flesh tone".Some of the ornaments depicted later disappear from the painting, for example, what appears to be a knot just below the wrist is visible in the underdrawing of the painting thanks to infrared reflectography, but it disappears from the final result.Conversely, in his study of the cloth covering the young woman's shoulder, the painter ignores it and simply sketches it in black stone. He seems to be satisfied with the one transferred from the preparatory painting board of 1503 since he retains it. At the other end, he precisely draws the young woman's hand and has her hold a cloth: perhaps he imagines that the mother is holding her son by a band of cloth wrapped around his body. However, the same cloth can be seen in one of the drawings of the Études pour l'Enfant Jésus in the Gallerie dell'Accademia in Venice – a series of studies dating from 1503, much earlier than the Study for the Virgin's Right Arm. In Leonardo's mind, therefore, the two drawings would have been complementary, more than five years apart. But this idea never seems to have been transferred to the painting.Ultimately, the entire motif was taken up by members of the painter's studio for their versions of Saint Anne. These replicas – which Serge Bramly calls "prototypes" – were commissioned by the master, who used them to create his painting: by varying the details of the figures and the landscape, they served as tests to judge the overall rendering of his future work. As such, they bear witness to the progress of the painter's thinking about his future work.Comparison of the study and its realisation in the painting

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: How does Study for the Virgin's Right Arm explain its A study for The Virgin and Child with Saint Anne?

The drawing Study for the Virgin's Right Arm is inextricably linked to the creation of the painting The Virgin and Child with Saint Anne, of which it constitutes a study. It was created at a time when the painter was working on his painting as a second intention, after a period of relative neglect during which he had devoted himself to other projects. The work was too far advanced to change the overall composition: Leonardo da Vinci could only modify the details. In the case of this study, he was interested in the draping effects of the slightly transparent veil that he wanted to give to the Virgin's garment, a garment that he now wanted to be more refined. This work on the young woman's arm and the drapery it supports is fundamental to the painting as an element that "plays a structural role in the composition of the painting, whose diagonal movement it supports". As for the hand, the painter chose to use a technique known as "red on red", which allowed him to "study more subtly the effects of light and shadow on the flesh tone".Some of the ornaments depicted later disappear from the painting, for example, what appears to be a knot just below the wrist is visible in the underdrawing of the painting thanks to infrared reflectography, but it disappears from the final result.Conversely, in his study of the cloth covering the young woman's shoulder, the painter ignores it and simply sketches it in black stone. He seems to be satisfied with the one transferred from the preparatory painting board of 1503 since he retains it. At the other end, he precisely draws the young woman's hand and has her hold a cloth: perhaps he imagines that the mother is holding her son by a band of cloth wrapped around his body. However, the same cloth can be seen in one of the drawings of the Études pour l'Enfant Jésus in the Gallerie dell'Accademia in Venice – a series of studies dating from 1503, much earlier than the Study for the Virgin's Right Arm. In Leonardo's mind, therefore, the two drawings would have been complementary, more than five years apart. But this idea never seems to have been transferred to the painting.Ultimately, the entire motif was taken up by members of the painter's studio for their versions of Saint Anne. These replicas – which Serge Bramly calls "prototypes" – were commissioned by the master, who used them to create his painting: by varying the details of the figures and the landscape, they served as tests to judge the overall rendering of his future work. As such, they bear witness to the progress of the painter's thinking about his future work.Comparison of the study and its realisation in the painting

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In Study for the Virgin's Right Arm, how is the A study for The Virgin and Child with Saint Anne discussed?

The drawing Study for the Virgin's Right Arm is inextricably linked to the creation of the painting The Virgin and Child with Saint Anne, of which it constitutes a study. It was created at a time when the painter was working on his painting as a second intention, after a period of relative neglect during which he had devoted himself to other projects. The work was too far advanced to change the overall composition: Leonardo da Vinci could only modify the details. In the case of this study, he was interested in the draping effects of the slightly transparent veil that he wanted to give to the Virgin's garment, a garment that he now wanted to be more refined. This work on the young woman's arm and the drapery it supports is fundamental to the painting as an element that "plays a structural role in the composition of the painting, whose diagonal movement it supports". As for the hand, the painter chose to use a technique known as "red on red", which allowed him to "study more subtly the effects of light and shadow on the flesh tone".Some of the ornaments depicted later disappear from the painting, for example, what appears to be a knot just below the wrist is visible in the underdrawing of the painting thanks to infrared reflectography, but it disappears from the final result.Conversely, in his study of the cloth covering the young woman's shoulder, the painter ignores it and simply sketches it in black stone. He seems to be satisfied with the one transferred from the preparatory painting board of 1503 since he retains it. At the other end, he precisely draws the young woman's hand and has her hold a cloth: perhaps he imagines that the mother is holding her son by a band of cloth wrapped around his body. However, the same cloth can be seen in one of the drawings of the Études pour l'Enfant Jésus in the Gallerie dell'Accademia in Venice – a series of studies dating from 1503, much earlier than the Study for the Virgin's Right Arm. In Leonardo's mind, therefore, the two drawings would have been complementary, more than five years apart. But this idea never seems to have been transferred to the painting.Ultimately, the entire motif was taken up by members of the painter's studio for their versions of Saint Anne. These replicas – which Serge Bramly calls "prototypes" – were commissioned by the master, who used them to create his painting: by varying the details of the figures and the landscape, they served as tests to judge the overall rendering of his future work. As such, they bear witness to the progress of the painter's thinking about his future work.Comparison of the study and its realisation in the painting

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In the context of Study for the Virgin's Right Arm, explain the The fusion of materials and the Analysis.

The drawing for the Study for the Virgin's Right Arm, like the later studies for the painting, is highly pictorial thanks to the variety of materials used and the richness and complexity of his technique. The aim is to simulate as closely as possible the effect that will be obtained in the painting, both for his own work and for his assistants who will make copies.The painter began by preparing his sheet of paper with a red-orange chalk background. He first outlines the shapes with charcoal or black stone, then creates a background on the paper with grey chalk. He rubs the material (charcoal and black stone) to obtain blurring effects and thus a sfumato effect in the intermediate shadows. He continues this modelling work with a grey wash for deeper shadows. He marks the folds with a nib in dark brown ink. At this point, he added highlights in white gouache to mark the edges of the folds. "A few strokes of sanguine [are] also applied, often parallel to the white highlights.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Explain the The fusion of materials about the Analysis of this artwork, Study for the Virgin's Right Arm.

The drawing for the Study for the Virgin's Right Arm, like the later studies for the painting, is highly pictorial thanks to the variety of materials used and the richness and complexity of his technique. The aim is to simulate as closely as possible the effect that will be obtained in the painting, both for his own work and for his assistants who will make copies.The painter began by preparing his sheet of paper with a red-orange chalk background. He first outlines the shapes with charcoal or black stone, then creates a background on the paper with grey chalk. He rubs the material (charcoal and black stone) to obtain blurring effects and thus a sfumato effect in the intermediate shadows. He continues this modelling work with a grey wash for deeper shadows. He marks the folds with a nib in dark brown ink. At this point, he added highlights in white gouache to mark the edges of the folds. "A few strokes of sanguine [are] also applied, often parallel to the white highlights.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In Study for the Virgin's Right Arm, how is the The fusion of materials of the Analysis explained?

The drawing for the Study for the Virgin's Right Arm, like the later studies for the painting, is highly pictorial thanks to the variety of materials used and the richness and complexity of his technique. The aim is to simulate as closely as possible the effect that will be obtained in the painting, both for his own work and for his assistants who will make copies.The painter began by preparing his sheet of paper with a red-orange chalk background. He first outlines the shapes with charcoal or black stone, then creates a background on the paper with grey chalk. He rubs the material (charcoal and black stone) to obtain blurring effects and thus a sfumato effect in the intermediate shadows. He continues this modelling work with a grey wash for deeper shadows. He marks the folds with a nib in dark brown ink. At this point, he added highlights in white gouache to mark the edges of the folds. "A few strokes of sanguine [are] also applied, often parallel to the white highlights.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Describe the characteristics of the The fusion of materials in Study for the Virgin's Right Arm's Analysis.

The drawing for the Study for the Virgin's Right Arm, like the later studies for the painting, is highly pictorial thanks to the variety of materials used and the richness and complexity of his technique. The aim is to simulate as closely as possible the effect that will be obtained in the painting, both for his own work and for his assistants who will make copies.The painter began by preparing his sheet of paper with a red-orange chalk background. He first outlines the shapes with charcoal or black stone, then creates a background on the paper with grey chalk. He rubs the material (charcoal and black stone) to obtain blurring effects and thus a sfumato effect in the intermediate shadows. He continues this modelling work with a grey wash for deeper shadows. He marks the folds with a nib in dark brown ink. At this point, he added highlights in white gouache to mark the edges of the folds. "A few strokes of sanguine [are] also applied, often parallel to the white highlights.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In the context of Study for the Virgin's Right Arm, explain the The art of drapery and the Analysis.

The drapery on the Virgin's right arm is one of the most significant features of the Louvre painting, and the painter paid particular attention to it: what was on the original painting board a "simple cloth" became, during the detailed retouching phases from 1508 onwards, "a transparent fabric, arranged in numerous circular folds, treated with virtuosity".It must be said that the painter's virtuosity in depicting drapery had been honed since it marked the culmination of his scientific research into colour, form, light, and shadow, as well as the technical combination of materials: Thus, "in his drapery studies for the Louvre composition, the artist experimented with resolutely unexpected, if not always successful, combinations of materials – at least different in color and composition – to obtain luminous, chromatically saturated, coherently constructed modeling effects".The drapery of the Virgin's arm is representative of the delicate rendering of these works. The painter's virtuosity allows him to give the Virgin's garment a refinement that he didn't seem to have imagined at the beginning of the project, giving it the appearance, lightness and silkiness of gauze.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Explain the The art of drapery about the Analysis of this artwork, Study for the Virgin's Right Arm.

The drapery on the Virgin's right arm is one of the most significant features of the Louvre painting, and the painter paid particular attention to it: what was on the original painting board a "simple cloth" became, during the detailed retouching phases from 1508 onwards, "a transparent fabric, arranged in numerous circular folds, treated with virtuosity".It must be said that the painter's virtuosity in depicting drapery had been honed since it marked the culmination of his scientific research into colour, form, light, and shadow, as well as the technical combination of materials: Thus, "in his drapery studies for the Louvre composition, the artist experimented with resolutely unexpected, if not always successful, combinations of materials – at least different in color and composition – to obtain luminous, chromatically saturated, coherently constructed modeling effects".The drapery of the Virgin's arm is representative of the delicate rendering of these works. The painter's virtuosity allows him to give the Virgin's garment a refinement that he didn't seem to have imagined at the beginning of the project, giving it the appearance, lightness and silkiness of gauze.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: In Study for the Virgin's Right Arm, how is the The art of drapery of the Analysis explained?

The drapery on the Virgin's right arm is one of the most significant features of the Louvre painting, and the painter paid particular attention to it: what was on the original painting board a "simple cloth" became, during the detailed retouching phases from 1508 onwards, "a transparent fabric, arranged in numerous circular folds, treated with virtuosity".It must be said that the painter's virtuosity in depicting drapery had been honed since it marked the culmination of his scientific research into colour, form, light, and shadow, as well as the technical combination of materials: Thus, "in his drapery studies for the Louvre composition, the artist experimented with resolutely unexpected, if not always successful, combinations of materials – at least different in color and composition – to obtain luminous, chromatically saturated, coherently constructed modeling effects".The drapery of the Virgin's arm is representative of the delicate rendering of these works. The painter's virtuosity allows him to give the Virgin's garment a refinement that he didn't seem to have imagined at the beginning of the project, giving it the appearance, lightness and silkiness of gauze.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Study for the Virgin's Right Arm

Prompt: Describe the characteristics of the The art of drapery in Study for the Virgin's Right Arm's Analysis.

The drapery on the Virgin's right arm is one of the most significant features of the Louvre painting, and the painter paid particular attention to it: what was on the original painting board a "simple cloth" became, during the detailed retouching phases from 1508 onwards, "a transparent fabric, arranged in numerous circular folds, treated with virtuosity".It must be said that the painter's virtuosity in depicting drapery had been honed since it marked the culmination of his scientific research into colour, form, light, and shadow, as well as the technical combination of materials: Thus, "in his drapery studies for the Louvre composition, the artist experimented with resolutely unexpected, if not always successful, combinations of materials – at least different in color and composition – to obtain luminous, chromatically saturated, coherently constructed modeling effects".The drapery of the Virgin's arm is representative of the delicate rendering of these works. The painter's virtuosity allows him to give the Virgin's garment a refinement that he didn't seem to have imagined at the beginning of the project, giving it the appearance, lightness and silkiness of gauze.

File:Détail de draperie sur l'étude de la main droite de la Vierge.png

Detail on the hand: the typical left-handed hatching is visible.

Category:Prints and drawings in the Royal Collection of the United Kingdom

File:Léonard de Vinci, sainte Anne, Louvre.jpg

Detail of drapery: black stone, grey chalk, brown ink wash and white gouache in glazes blend densely and intricately.

File:Leonardo da vinci, Sleeve study for the Annunciation.jpg

File:Leonardo da Vinci - RCIN 912625, The leg muscles and bones of man and horse c.1506-8.jpg

The drawing was created as part of ''[[The Virgin and Child with Saint Anne (Leonardo)

italic=yes}} (detail in the drawing at top left), around 1502–1503, [[Venice

File:Détail sur l'étude de la main droite de la Vierge.png

File:Study for the Saint-Anne - The Child (detail).jpg

When the artist died, the drawing followed the path of the Study for ''[[The Head of the Virgin in Three-Quarter View Facing Right

File:Leonardo da Vinci - RCIN 912533, The head of St Anne c.1510-15.jpg


Lithia Fountain

Prompt: Focus on Lithia Fountain and explain the abstract.

The Lithia Fountain is a fountain in Ashland, Oregon, United States, installed in 1927. Health benefits of water from the fountain, and the city's others, have been debated.High barium levels forced the city's public works department to turn off the fountains temporarily in 2016.

Category:Buildings and structures in Ashland, Oregon


Lithia Fountain

Prompt: Explain the abstract of this artwork, Lithia Fountain.

The Lithia Fountain is a fountain in Ashland, Oregon, United States, installed in 1927. Health benefits of water from the fountain, and the city's others, have been debated.High barium levels forced the city's public works department to turn off the fountains temporarily in 2016.

Category:Buildings and structures in Ashland, Oregon


Lithia Fountain

Prompt: How does Lithia Fountain explain its abstract?

The Lithia Fountain is a fountain in Ashland, Oregon, United States, installed in 1927. Health benefits of water from the fountain, and the city's others, have been debated.High barium levels forced the city's public works department to turn off the fountains temporarily in 2016.

Category:Buildings and structures in Ashland, Oregon


Lithia Fountain

Prompt: In Lithia Fountain, how is the abstract discussed?

The Lithia Fountain is a fountain in Ashland, Oregon, United States, installed in 1927. Health benefits of water from the fountain, and the city's others, have been debated.High barium levels forced the city's public works department to turn off the fountains temporarily in 2016.

Category:Buildings and structures in Ashland, Oregon


The Martyrdom of Saint Florian

Prompt: Focus on The Martyrdom of Saint Florian and explain the abstract.

The Martyrdom of Saint Florian is an oil-on-panel painting executed  c.1518–1520 by the German artist Albrecht Altdorfer, signed with his "A in A" monogram on a post of the bridge on the right. It and the artist's Saint Florian Taking Leave of the Monastery were in the Spannocchi collection of the Pinacoteca nazionale di Siena until 1914, when they were both transferred to their present home in the Uffizi in Florence to strengthen the latter's holdings on the Northern Renaissance.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: Explain the abstract of this artwork, The Martyrdom of Saint Florian.

The Martyrdom of Saint Florian is an oil-on-panel painting executed  c.1518–1520 by the German artist Albrecht Altdorfer, signed with his "A in A" monogram on a post of the bridge on the right. It and the artist's Saint Florian Taking Leave of the Monastery were in the Spannocchi collection of the Pinacoteca nazionale di Siena until 1914, when they were both transferred to their present home in the Uffizi in Florence to strengthen the latter's holdings on the Northern Renaissance.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: How does The Martyrdom of Saint Florian explain its abstract?

The Martyrdom of Saint Florian is an oil-on-panel painting executed  c.1518–1520 by the German artist Albrecht Altdorfer, signed with his "A in A" monogram on a post of the bridge on the right. It and the artist's Saint Florian Taking Leave of the Monastery were in the Spannocchi collection of the Pinacoteca nazionale di Siena until 1914, when they were both transferred to their present home in the Uffizi in Florence to strengthen the latter's holdings on the Northern Renaissance.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: In The Martyrdom of Saint Florian, how is the abstract discussed?

The Martyrdom of Saint Florian is an oil-on-panel painting executed  c.1518–1520 by the German artist Albrecht Altdorfer, signed with his "A in A" monogram on a post of the bridge on the right. It and the artist's Saint Florian Taking Leave of the Monastery were in the Spannocchi collection of the Pinacoteca nazionale di Siena until 1914, when they were both transferred to their present home in the Uffizi in Florence to strengthen the latter's holdings on the Northern Renaissance.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: Focus on The Martyrdom of Saint Florian and explain the History.

They originally formed part of a series of works by him on the life of the Austrian saint Florian, perhaps originally housed in a revolving frame – three others are now in the Germanisches Nationalmuseum in Nuremberg (Saint Florian Captured on the Bridge over the Enns, Saint Florian Before the Governor and The Recovery of Saint Florian's Body) along with one each in the National Gallery Prague (The Beating) and a private collection in Berlin. Together they probably resembled the Saint Sebastian and his Martyrdom Altarpiece painted by Altdorfer in Regensburg for Linz Collegiate Church around 1518 and may have hung in another church in Linz, perhaps that dedicated to Saint John.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Saint Florian Taking Leave of the Monastery

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: Explain the History of this artwork, The Martyrdom of Saint Florian.

They originally formed part of a series of works by him on the life of the Austrian saint Florian, perhaps originally housed in a revolving frame – three others are now in the Germanisches Nationalmuseum in Nuremberg (Saint Florian Captured on the Bridge over the Enns, Saint Florian Before the Governor and The Recovery of Saint Florian's Body) along with one each in the National Gallery Prague (The Beating) and a private collection in Berlin. Together they probably resembled the Saint Sebastian and his Martyrdom Altarpiece painted by Altdorfer in Regensburg for Linz Collegiate Church around 1518 and may have hung in another church in Linz, perhaps that dedicated to Saint John.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Saint Florian Taking Leave of the Monastery

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: How does The Martyrdom of Saint Florian explain its History?

They originally formed part of a series of works by him on the life of the Austrian saint Florian, perhaps originally housed in a revolving frame – three others are now in the Germanisches Nationalmuseum in Nuremberg (Saint Florian Captured on the Bridge over the Enns, Saint Florian Before the Governor and The Recovery of Saint Florian's Body) along with one each in the National Gallery Prague (The Beating) and a private collection in Berlin. Together they probably resembled the Saint Sebastian and his Martyrdom Altarpiece painted by Altdorfer in Regensburg for Linz Collegiate Church around 1518 and may have hung in another church in Linz, perhaps that dedicated to Saint John.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Saint Florian Taking Leave of the Monastery

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: In The Martyrdom of Saint Florian, how is the History discussed?

They originally formed part of a series of works by him on the life of the Austrian saint Florian, perhaps originally housed in a revolving frame – three others are now in the Germanisches Nationalmuseum in Nuremberg (Saint Florian Captured on the Bridge over the Enns, Saint Florian Before the Governor and The Recovery of Saint Florian's Body) along with one each in the National Gallery Prague (The Beating) and a private collection in Berlin. Together they probably resembled the Saint Sebastian and his Martyrdom Altarpiece painted by Altdorfer in Regensburg for Linz Collegiate Church around 1518 and may have hung in another church in Linz, perhaps that dedicated to Saint John.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Saint Florian Taking Leave of the Monastery

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: Focus on The Martyrdom of Saint Florian and explain the Description.

Saint Florian was a Roman soldier from Enns, who, having defended the Christians of Upper Austria, in 304, was martyred by means of a grindstone tied around his neck and thrown with him into the river Inn.Behind Florian, young, naked and kneeling, is the group of torturers and simple onlookers, and the large grindstone tied to his neck is in front of him. His serene acceptance of martyrdom contrasts with the excited and distorted faces of the other characters, which effectively bring out his sanctity. Below the bridge, a beautiful river landscape is depicted.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Saint Florian Taking Leave of the Monastery

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer


The Martyrdom of Saint Florian

Prompt: Explain the Description of this artwork, The Martyrdom of Saint Florian.

Saint Florian was a Roman soldier from Enns, who, having defended the Christians of Upper Austria, in 304, was martyred by means of a grindstone tied around his neck and thrown with him into the river Inn.Behind Florian, young, naked and kneeling, is the group of torturers and simple onlookers, and the large grindstone tied to his neck is in front of him. His serene acceptance of martyrdom contrasts with the excited and distorted faces of the other characters, which effectively bring out his sanctity. Below the bridge, a beautiful river landscape is depicted.

:File:Altdorfer - Martyrdom of St Florian - Národní galerie v Praze.jpg

Saint Florian Taking Leave of the Monastery

Category:Paintings by Albrecht Altdorfer

List of landscapes by Albrecht Altdorfer