Prompt: Focus on Memory of the Garden at Etten (Ladies of Arles) and explain the History.

The painting influenced Gauguin's Arlésiennes (Mistral) painted about a month later. In his letters about the painting Vincent makes it clear he was at pains to use his imagination in the way Gauguin was countenancing.In Gauguin's painting the figure of the older woman is recognisably Madame Ginoux who ran  the Café de la Gare where Vincent had lodged and which he and Gauguin continued to patronise after moving into the nearby Yellow House. Vincent's figures are generally taken to be his mother and sister Willemien. Vincent 's biographer Marc Edo Tralbaut, however, was of the opinion that the younger woman was, consciously or unconsciously, a representation of Kee Vos Stricker. Vincent was somewhat enigmatic on the subject in a letter to his sister:I’ve already replied to you that I didn’t like Mother’s portrait enormously. I’ve now just painted a reminiscence of the garden at Etten, to put in my bedroom, and here’s a croquis of it. It’s quite a big canvas.Now here are the colours. The younger of the two women walking is wearing a Scottish shawl with green and orange checks and carrying a red parasol. The old one has a blue-violet shawl, almost black. But a bunch of dahlias, some lemon yellow, others variegated pink and white, explode against this sombre figure.Behind them a few emerald-green cedar or cypress bushes. Behind these cypresses one catches a glimpse of a bed of pale green and red cabbages, surrounded by a border of little white flowers. The sandy path is a raw orange, the foliage of two beds of scarlet geraniums is very green. Finally, in the middle ground is a maidservant dressed in blue who’s arranging plants with a profusion of white, pink, yellow and vermilion-red flowers.There you are, I know it isn’t perhaps much of a resemblance, but for me it conveys the poetic character and the style of the garden as I feel them. In the same way, let’s suppose that these two women walking are you and our mother. Let’s even suppose then that there may be not the slightest, absolutely not the slightest vulgar and fatuous resemblance, the deliberate choice of colour, the dark violet violently blotched with the lemon yellow of the dahlias, suggests Mother’s personality to me.The figure in the Scottish plaid with the orange and green checks standing out against the dark green of the cypress, this contrast even more exaggerated by the red parasol, gives me an idea of you, vaguely a figure like those in Dickens’s novels.I don’t know if you’ll understand that one can speak poetry just by arranging colours well, just as one can say comforting things in music. In the same way the bizarre lines, sought out and multiplied, and snaking all over the painting, aren’t intended to render the garden in its vulgar resemblance but draw it for us as if seen in a dream, in character and yet at the same time stranger than the reality.In a later letter, he says he has spoiled the painting and refers to it as "that thing I did of the garden at Nuenen" (i.e. his later family home and not Etten), leading Hulsker to suggest he really had no particular location in mind. Hulsker is puzzled by the remark that Vincent thought he had spoiled the painting, describing the painting as fascinating and enigmatic, "rich in subdued yet sparkling colours". Both he and Tralbaut are reminded of medieval stained-glass windows.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Explain the History of this artwork, Memory of the Garden at Etten (Ladies of Arles).

The painting influenced Gauguin's Arlésiennes (Mistral) painted about a month later. In his letters about the painting Vincent makes it clear he was at pains to use his imagination in the way Gauguin was countenancing.In Gauguin's painting the figure of the older woman is recognisably Madame Ginoux who ran  the Café de la Gare where Vincent had lodged and which he and Gauguin continued to patronise after moving into the nearby Yellow House. Vincent's figures are generally taken to be his mother and sister Willemien. Vincent 's biographer Marc Edo Tralbaut, however, was of the opinion that the younger woman was, consciously or unconsciously, a representation of Kee Vos Stricker. Vincent was somewhat enigmatic on the subject in a letter to his sister:I’ve already replied to you that I didn’t like Mother’s portrait enormously. I’ve now just painted a reminiscence of the garden at Etten, to put in my bedroom, and here’s a croquis of it. It’s quite a big canvas.Now here are the colours. The younger of the two women walking is wearing a Scottish shawl with green and orange checks and carrying a red parasol. The old one has a blue-violet shawl, almost black. But a bunch of dahlias, some lemon yellow, others variegated pink and white, explode against this sombre figure.Behind them a few emerald-green cedar or cypress bushes. Behind these cypresses one catches a glimpse of a bed of pale green and red cabbages, surrounded by a border of little white flowers. The sandy path is a raw orange, the foliage of two beds of scarlet geraniums is very green. Finally, in the middle ground is a maidservant dressed in blue who’s arranging plants with a profusion of white, pink, yellow and vermilion-red flowers.There you are, I know it isn’t perhaps much of a resemblance, but for me it conveys the poetic character and the style of the garden as I feel them. In the same way, let’s suppose that these two women walking are you and our mother. Let’s even suppose then that there may be not the slightest, absolutely not the slightest vulgar and fatuous resemblance, the deliberate choice of colour, the dark violet violently blotched with the lemon yellow of the dahlias, suggests Mother’s personality to me.The figure in the Scottish plaid with the orange and green checks standing out against the dark green of the cypress, this contrast even more exaggerated by the red parasol, gives me an idea of you, vaguely a figure like those in Dickens’s novels.I don’t know if you’ll understand that one can speak poetry just by arranging colours well, just as one can say comforting things in music. In the same way the bizarre lines, sought out and multiplied, and snaking all over the painting, aren’t intended to render the garden in its vulgar resemblance but draw it for us as if seen in a dream, in character and yet at the same time stranger than the reality.In a later letter, he says he has spoiled the painting and refers to it as "that thing I did of the garden at Nuenen" (i.e. his later family home and not Etten), leading Hulsker to suggest he really had no particular location in mind. Hulsker is puzzled by the remark that Vincent thought he had spoiled the painting, describing the painting as fascinating and enigmatic, "rich in subdued yet sparkling colours". Both he and Tralbaut are reminded of medieval stained-glass windows.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: How does Memory of the Garden at Etten (Ladies of Arles) explain its History?

The painting influenced Gauguin's Arlésiennes (Mistral) painted about a month later. In his letters about the painting Vincent makes it clear he was at pains to use his imagination in the way Gauguin was countenancing.In Gauguin's painting the figure of the older woman is recognisably Madame Ginoux who ran  the Café de la Gare where Vincent had lodged and which he and Gauguin continued to patronise after moving into the nearby Yellow House. Vincent's figures are generally taken to be his mother and sister Willemien. Vincent 's biographer Marc Edo Tralbaut, however, was of the opinion that the younger woman was, consciously or unconsciously, a representation of Kee Vos Stricker. Vincent was somewhat enigmatic on the subject in a letter to his sister:I’ve already replied to you that I didn’t like Mother’s portrait enormously. I’ve now just painted a reminiscence of the garden at Etten, to put in my bedroom, and here’s a croquis of it. It’s quite a big canvas.Now here are the colours. The younger of the two women walking is wearing a Scottish shawl with green and orange checks and carrying a red parasol. The old one has a blue-violet shawl, almost black. But a bunch of dahlias, some lemon yellow, others variegated pink and white, explode against this sombre figure.Behind them a few emerald-green cedar or cypress bushes. Behind these cypresses one catches a glimpse of a bed of pale green and red cabbages, surrounded by a border of little white flowers. The sandy path is a raw orange, the foliage of two beds of scarlet geraniums is very green. Finally, in the middle ground is a maidservant dressed in blue who’s arranging plants with a profusion of white, pink, yellow and vermilion-red flowers.There you are, I know it isn’t perhaps much of a resemblance, but for me it conveys the poetic character and the style of the garden as I feel them. In the same way, let’s suppose that these two women walking are you and our mother. Let’s even suppose then that there may be not the slightest, absolutely not the slightest vulgar and fatuous resemblance, the deliberate choice of colour, the dark violet violently blotched with the lemon yellow of the dahlias, suggests Mother’s personality to me.The figure in the Scottish plaid with the orange and green checks standing out against the dark green of the cypress, this contrast even more exaggerated by the red parasol, gives me an idea of you, vaguely a figure like those in Dickens’s novels.I don’t know if you’ll understand that one can speak poetry just by arranging colours well, just as one can say comforting things in music. In the same way the bizarre lines, sought out and multiplied, and snaking all over the painting, aren’t intended to render the garden in its vulgar resemblance but draw it for us as if seen in a dream, in character and yet at the same time stranger than the reality.In a later letter, he says he has spoiled the painting and refers to it as "that thing I did of the garden at Nuenen" (i.e. his later family home and not Etten), leading Hulsker to suggest he really had no particular location in mind. Hulsker is puzzled by the remark that Vincent thought he had spoiled the painting, describing the painting as fascinating and enigmatic, "rich in subdued yet sparkling colours". Both he and Tralbaut are reminded of medieval stained-glass windows.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: In Memory of the Garden at Etten (Ladies of Arles), how is the History discussed?

The painting influenced Gauguin's Arlésiennes (Mistral) painted about a month later. In his letters about the painting Vincent makes it clear he was at pains to use his imagination in the way Gauguin was countenancing.In Gauguin's painting the figure of the older woman is recognisably Madame Ginoux who ran  the Café de la Gare where Vincent had lodged and which he and Gauguin continued to patronise after moving into the nearby Yellow House. Vincent's figures are generally taken to be his mother and sister Willemien. Vincent 's biographer Marc Edo Tralbaut, however, was of the opinion that the younger woman was, consciously or unconsciously, a representation of Kee Vos Stricker. Vincent was somewhat enigmatic on the subject in a letter to his sister:I’ve already replied to you that I didn’t like Mother’s portrait enormously. I’ve now just painted a reminiscence of the garden at Etten, to put in my bedroom, and here’s a croquis of it. It’s quite a big canvas.Now here are the colours. The younger of the two women walking is wearing a Scottish shawl with green and orange checks and carrying a red parasol. The old one has a blue-violet shawl, almost black. But a bunch of dahlias, some lemon yellow, others variegated pink and white, explode against this sombre figure.Behind them a few emerald-green cedar or cypress bushes. Behind these cypresses one catches a glimpse of a bed of pale green and red cabbages, surrounded by a border of little white flowers. The sandy path is a raw orange, the foliage of two beds of scarlet geraniums is very green. Finally, in the middle ground is a maidservant dressed in blue who’s arranging plants with a profusion of white, pink, yellow and vermilion-red flowers.There you are, I know it isn’t perhaps much of a resemblance, but for me it conveys the poetic character and the style of the garden as I feel them. In the same way, let’s suppose that these two women walking are you and our mother. Let’s even suppose then that there may be not the slightest, absolutely not the slightest vulgar and fatuous resemblance, the deliberate choice of colour, the dark violet violently blotched with the lemon yellow of the dahlias, suggests Mother’s personality to me.The figure in the Scottish plaid with the orange and green checks standing out against the dark green of the cypress, this contrast even more exaggerated by the red parasol, gives me an idea of you, vaguely a figure like those in Dickens’s novels.I don’t know if you’ll understand that one can speak poetry just by arranging colours well, just as one can say comforting things in music. In the same way the bizarre lines, sought out and multiplied, and snaking all over the painting, aren’t intended to render the garden in its vulgar resemblance but draw it for us as if seen in a dream, in character and yet at the same time stranger than the reality.In a later letter, he says he has spoiled the painting and refers to it as "that thing I did of the garden at Nuenen" (i.e. his later family home and not Etten), leading Hulsker to suggest he really had no particular location in mind. Hulsker is puzzled by the remark that Vincent thought he had spoiled the painting, describing the painting as fascinating and enigmatic, "rich in subdued yet sparkling colours". Both he and Tralbaut are reminded of medieval stained-glass windows.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Focus on Memory of the Garden at Etten (Ladies of Arles) and explain the Gauguin's influence.

In his catalogue raisonné, Hulsker considers the claim that the radical changes now evident in Vincent's work were a result of Gauguin's influence and the Synthetic Symbolism style of painting, a fusion of Neo-Impressionism, Japonisme, and Pont Aven Symbolism, that he developed with Émile Bernard. In a collection of reminisces Avant et Après published 15 years later, Gauguin himself made the claim:At the time I arrived in Arles, Vincent was full of Neo-Impressionism and was in serious trouble, which made him very sad; not that this school, like all other schools, was bad, but it simply did not suit his impatient and independent nature. With all his yellow on violet, all his painting with complementary colours, which he did in an unsystematic way, he got no further than incomplete, soft, monotonous harmonies; the clarion call was missing. I undertook the task of showing him the way, which I found easy, for I found rich and fertile soil. Like all original natures that show the stamp of personality, Vincent knew no fear and no obstinacy. From that day onward Vincent showed surprising progress; he appeared to discover what lay within him, hence that whole series of sunflowers after sunflowers in full sunshine.Hulsker remarks that in reality Vincent was already in his prime as an artist when Gauguin arrived. For a while he was influenced by Gauguin's theory of painting from the imagination and Memory of the Garden at Etten is certainly a conscious effort to paint in this style, but he soon returned to Realism. As for the Sunflower paintings, those had been completed fully two months before Gauguin's arrival.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Explain the Gauguin's influence of this artwork, Memory of the Garden at Etten (Ladies of Arles).

In his catalogue raisonné, Hulsker considers the claim that the radical changes now evident in Vincent's work were a result of Gauguin's influence and the Synthetic Symbolism style of painting, a fusion of Neo-Impressionism, Japonisme, and Pont Aven Symbolism, that he developed with Émile Bernard. In a collection of reminisces Avant et Après published 15 years later, Gauguin himself made the claim:At the time I arrived in Arles, Vincent was full of Neo-Impressionism and was in serious trouble, which made him very sad; not that this school, like all other schools, was bad, but it simply did not suit his impatient and independent nature. With all his yellow on violet, all his painting with complementary colours, which he did in an unsystematic way, he got no further than incomplete, soft, monotonous harmonies; the clarion call was missing. I undertook the task of showing him the way, which I found easy, for I found rich and fertile soil. Like all original natures that show the stamp of personality, Vincent knew no fear and no obstinacy. From that day onward Vincent showed surprising progress; he appeared to discover what lay within him, hence that whole series of sunflowers after sunflowers in full sunshine.Hulsker remarks that in reality Vincent was already in his prime as an artist when Gauguin arrived. For a while he was influenced by Gauguin's theory of painting from the imagination and Memory of the Garden at Etten is certainly a conscious effort to paint in this style, but he soon returned to Realism. As for the Sunflower paintings, those had been completed fully two months before Gauguin's arrival.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: How does Memory of the Garden at Etten (Ladies of Arles) explain its Gauguin's influence?

In his catalogue raisonné, Hulsker considers the claim that the radical changes now evident in Vincent's work were a result of Gauguin's influence and the Synthetic Symbolism style of painting, a fusion of Neo-Impressionism, Japonisme, and Pont Aven Symbolism, that he developed with Émile Bernard. In a collection of reminisces Avant et Après published 15 years later, Gauguin himself made the claim:At the time I arrived in Arles, Vincent was full of Neo-Impressionism and was in serious trouble, which made him very sad; not that this school, like all other schools, was bad, but it simply did not suit his impatient and independent nature. With all his yellow on violet, all his painting with complementary colours, which he did in an unsystematic way, he got no further than incomplete, soft, monotonous harmonies; the clarion call was missing. I undertook the task of showing him the way, which I found easy, for I found rich and fertile soil. Like all original natures that show the stamp of personality, Vincent knew no fear and no obstinacy. From that day onward Vincent showed surprising progress; he appeared to discover what lay within him, hence that whole series of sunflowers after sunflowers in full sunshine.Hulsker remarks that in reality Vincent was already in his prime as an artist when Gauguin arrived. For a while he was influenced by Gauguin's theory of painting from the imagination and Memory of the Garden at Etten is certainly a conscious effort to paint in this style, but he soon returned to Realism. As for the Sunflower paintings, those had been completed fully two months before Gauguin's arrival.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: In Memory of the Garden at Etten (Ladies of Arles), how is the Gauguin's influence discussed?

In his catalogue raisonné, Hulsker considers the claim that the radical changes now evident in Vincent's work were a result of Gauguin's influence and the Synthetic Symbolism style of painting, a fusion of Neo-Impressionism, Japonisme, and Pont Aven Symbolism, that he developed with Émile Bernard. In a collection of reminisces Avant et Après published 15 years later, Gauguin himself made the claim:At the time I arrived in Arles, Vincent was full of Neo-Impressionism and was in serious trouble, which made him very sad; not that this school, like all other schools, was bad, but it simply did not suit his impatient and independent nature. With all his yellow on violet, all his painting with complementary colours, which he did in an unsystematic way, he got no further than incomplete, soft, monotonous harmonies; the clarion call was missing. I undertook the task of showing him the way, which I found easy, for I found rich and fertile soil. Like all original natures that show the stamp of personality, Vincent knew no fear and no obstinacy. From that day onward Vincent showed surprising progress; he appeared to discover what lay within him, hence that whole series of sunflowers after sunflowers in full sunshine.Hulsker remarks that in reality Vincent was already in his prime as an artist when Gauguin arrived. For a while he was influenced by Gauguin's theory of painting from the imagination and Memory of the Garden at Etten is certainly a conscious effort to paint in this style, but he soon returned to Realism. As for the Sunflower paintings, those had been completed fully two months before Gauguin's arrival.

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Focus on Memory of the Garden at Etten (Ladies of Arles) and explain the Provenance.

Émile Schuffenecker, Clamart [recorded 1908]Sergei Shchukin, Moscow, cat 1913, nr 35Moscow, Museum of Modern Western Art [acquired 1918], cat 1928, nr 79Leningrad, Hermitage [acquired 1948], inv nr 9116, cat 1958, p 291 at 1967, nrs 65-66

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Explain the Provenance of this artwork, Memory of the Garden at Etten (Ladies of Arles).

Émile Schuffenecker, Clamart [recorded 1908]Sergei Shchukin, Moscow, cat 1913, nr 35Moscow, Museum of Modern Western Art [acquired 1918], cat 1928, nr 79Leningrad, Hermitage [acquired 1948], inv nr 9116, cat 1958, p 291 at 1967, nrs 65-66

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: How does Memory of the Garden at Etten (Ladies of Arles) explain its Provenance?

Émile Schuffenecker, Clamart [recorded 1908]Sergei Shchukin, Moscow, cat 1913, nr 35Moscow, Museum of Modern Western Art [acquired 1918], cat 1928, nr 79Leningrad, Hermitage [acquired 1948], inv nr 9116, cat 1958, p 291 at 1967, nrs 65-66

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: In Memory of the Garden at Etten (Ladies of Arles), how is the Provenance discussed?

Émile Schuffenecker, Clamart [recorded 1908]Sergei Shchukin, Moscow, cat 1913, nr 35Moscow, Museum of Modern Western Art [acquired 1918], cat 1928, nr 79Leningrad, Hermitage [acquired 1948], inv nr 9116, cat 1958, p 291 at 1967, nrs 65-66

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Focus on Memory of the Garden at Etten (Ladies of Arles) and explain the Exhibition history.

1908 Paris (VvG, Galerie E. Druet, 6–18 January, 35 nrs), 301926 Moscow1956 Moscow, Leningrad, p II1960 Paris, 49

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: Explain the Exhibition history of this artwork, Memory of the Garden at Etten (Ladies of Arles).

1908 Paris (VvG, Galerie E. Druet, 6–18 January, 35 nrs), 301926 Moscow1956 Moscow, Leningrad, p II1960 Paris, 49

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: How does Memory of the Garden at Etten (Ladies of Arles) explain its Exhibition history?

1908 Paris (VvG, Galerie E. Druet, 6–18 January, 35 nrs), 301926 Moscow1956 Moscow, Leningrad, p II1960 Paris, 49

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Prompt: In Memory of the Garden at Etten (Ladies of Arles), how is the Exhibition history discussed?

1908 Paris (VvG, Galerie E. Druet, 6–18 January, 35 nrs), 301926 Moscow1956 Moscow, Leningrad, p II1960 Paris, 49

Category:Paintings in the Hermitage Museum

Portrait of the Artist's Mother (Van Gogh)

Vincent van Gogh's Décoration for the Yellow House

:commons:File:Groepsfoto genomen op de 80ste verjaardag van J.A. Stricker voor het Huys te Hoorn.jpg

Van Gogh's family in his art#Anna van Gogh


Girl before a Mirror

Prompt: Focus on Girl before a Mirror and explain the abstract.

Girl before a Mirror (French: Jeune fille devant un miroir) is an oil on canvas painting by Pablo Picasso, which he created in 1932. The painting is a portrait of Picasso's mistress and muse, Marie-Thérèse Walter, who is depicted standing in front of a mirror looking at her reflection. It is housed in the collection of the Museum of Modern Art in New York City.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Explain the abstract of this artwork, Girl before a Mirror.

Girl before a Mirror (French: Jeune fille devant un miroir) is an oil on canvas painting by Pablo Picasso, which he created in 1932. The painting is a portrait of Picasso's mistress and muse, Marie-Thérèse Walter, who is depicted standing in front of a mirror looking at her reflection. It is housed in the collection of the Museum of Modern Art in New York City.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: How does Girl before a Mirror explain its abstract?

Girl before a Mirror (French: Jeune fille devant un miroir) is an oil on canvas painting by Pablo Picasso, which he created in 1932. The painting is a portrait of Picasso's mistress and muse, Marie-Thérèse Walter, who is depicted standing in front of a mirror looking at her reflection. It is housed in the collection of the Museum of Modern Art in New York City.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: In Girl before a Mirror, how is the abstract discussed?

Girl before a Mirror (French: Jeune fille devant un miroir) is an oil on canvas painting by Pablo Picasso, which he created in 1932. The painting is a portrait of Picasso's mistress and muse, Marie-Thérèse Walter, who is depicted standing in front of a mirror looking at her reflection. It is housed in the collection of the Museum of Modern Art in New York City.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Focus on Girl before a Mirror and explain the Background.

This painting was produced in 1932, a significant year in Picasso's artistic career. By this point in his life, Picasso had already reached the age of 51 and had established his reputation as an important artist. In 1932, Galerie Georges Petit presented a retrospective exhibition of his work, which was an unusual event for an artist, with Picasso taking control of the curation. This was also a highly productive year for Picasso, in which he focused many of his works on his 22-year-old mistress and muse Marie-Thérèse Walter. His 1932 portraits of her were the first public display of their secret affair during his marriage to Olga Khokhlova.Several months after completing this portrait, Picasso stated, "The body of work one creates is a form of diary", alluding to the autobiographical nature of the work. Alfred H. Barr, Jr., Director of The Museum of Modern Art, reported that Picasso had said that he "preferred this painting to any of the others in the long series he had completed that spring".

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Explain the Background of this artwork, Girl before a Mirror.

This painting was produced in 1932, a significant year in Picasso's artistic career. By this point in his life, Picasso had already reached the age of 51 and had established his reputation as an important artist. In 1932, Galerie Georges Petit presented a retrospective exhibition of his work, which was an unusual event for an artist, with Picasso taking control of the curation. This was also a highly productive year for Picasso, in which he focused many of his works on his 22-year-old mistress and muse Marie-Thérèse Walter. His 1932 portraits of her were the first public display of their secret affair during his marriage to Olga Khokhlova.Several months after completing this portrait, Picasso stated, "The body of work one creates is a form of diary", alluding to the autobiographical nature of the work. Alfred H. Barr, Jr., Director of The Museum of Modern Art, reported that Picasso had said that he "preferred this painting to any of the others in the long series he had completed that spring".

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: How does Girl before a Mirror explain its Background?

This painting was produced in 1932, a significant year in Picasso's artistic career. By this point in his life, Picasso had already reached the age of 51 and had established his reputation as an important artist. In 1932, Galerie Georges Petit presented a retrospective exhibition of his work, which was an unusual event for an artist, with Picasso taking control of the curation. This was also a highly productive year for Picasso, in which he focused many of his works on his 22-year-old mistress and muse Marie-Thérèse Walter. His 1932 portraits of her were the first public display of their secret affair during his marriage to Olga Khokhlova.Several months after completing this portrait, Picasso stated, "The body of work one creates is a form of diary", alluding to the autobiographical nature of the work. Alfred H. Barr, Jr., Director of The Museum of Modern Art, reported that Picasso had said that he "preferred this painting to any of the others in the long series he had completed that spring".

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: In Girl before a Mirror, how is the Background discussed?

This painting was produced in 1932, a significant year in Picasso's artistic career. By this point in his life, Picasso had already reached the age of 51 and had established his reputation as an important artist. In 1932, Galerie Georges Petit presented a retrospective exhibition of his work, which was an unusual event for an artist, with Picasso taking control of the curation. This was also a highly productive year for Picasso, in which he focused many of his works on his 22-year-old mistress and muse Marie-Thérèse Walter. His 1932 portraits of her were the first public display of their secret affair during his marriage to Olga Khokhlova.Several months after completing this portrait, Picasso stated, "The body of work one creates is a form of diary", alluding to the autobiographical nature of the work. Alfred H. Barr, Jr., Director of The Museum of Modern Art, reported that Picasso had said that he "preferred this painting to any of the others in the long series he had completed that spring".

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: In the context of Girl before a Mirror, explain the Marie-Thérèse Walter and the Background.

Walter was Picasso's mistress from January 1927 until 1941. Their first meeting occurred outside Galeries Lafayette in Paris, when Walter was aged 17 and Picasso was 45. He introduced himself by saying, "You have an interesting face, I would like to do a portrait of you. I am Picasso". His marriage to Olga Khokhlova was strained, due to his infidelities. As a result, Picasso's affair with Walter had to initially remain a secret.Françoise Gilot, Picasso’s partner from 1944 to 1953, commented, "I could see that she was certainly the woman who had inspired Pablo plastically more than any other. She had a very arresting face with a Grecian profile. The whole series of portraits of blonde women Pablo painted between 1927 and 1935 are almost exact replicas of her".In 1930, Picasso decided to purchase Château de Boisgeloup, a country house 45 miles northwest of Paris. This allowed him to spend time with Walter away from his wife on weekends. Despite being unaware of Picasso's relationship with Walter, Olga eventually uncovered the truth in a series of nude portraits that Picasso showcased at the retrospective exhibition at Galerie Georges Petit in October 1932. Many of Picasso's portraits of his mistress contained symbolism which was sexually charged, most notably in Le Rêve. By 1934, Olga's rage reached a crisis point and she left the apartment in Paris. In the same year on Christmas Eve, Walter informed Picasso that she was pregnant and he promised that he would file for divorce. She eventually gave birth to a daughter, Maya, on 5 September 1935. The couple stayed in a relationship for more than ten years, but never married.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Explain the Marie-Thérèse Walter about the Background of this artwork, Girl before a Mirror.

Walter was Picasso's mistress from January 1927 until 1941. Their first meeting occurred outside Galeries Lafayette in Paris, when Walter was aged 17 and Picasso was 45. He introduced himself by saying, "You have an interesting face, I would like to do a portrait of you. I am Picasso". His marriage to Olga Khokhlova was strained, due to his infidelities. As a result, Picasso's affair with Walter had to initially remain a secret.Françoise Gilot, Picasso’s partner from 1944 to 1953, commented, "I could see that she was certainly the woman who had inspired Pablo plastically more than any other. She had a very arresting face with a Grecian profile. The whole series of portraits of blonde women Pablo painted between 1927 and 1935 are almost exact replicas of her".In 1930, Picasso decided to purchase Château de Boisgeloup, a country house 45 miles northwest of Paris. This allowed him to spend time with Walter away from his wife on weekends. Despite being unaware of Picasso's relationship with Walter, Olga eventually uncovered the truth in a series of nude portraits that Picasso showcased at the retrospective exhibition at Galerie Georges Petit in October 1932. Many of Picasso's portraits of his mistress contained symbolism which was sexually charged, most notably in Le Rêve. By 1934, Olga's rage reached a crisis point and she left the apartment in Paris. In the same year on Christmas Eve, Walter informed Picasso that she was pregnant and he promised that he would file for divorce. She eventually gave birth to a daughter, Maya, on 5 September 1935. The couple stayed in a relationship for more than ten years, but never married.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: In Girl before a Mirror, how is the Marie-Thérèse Walter of the Background explained?

Walter was Picasso's mistress from January 1927 until 1941. Their first meeting occurred outside Galeries Lafayette in Paris, when Walter was aged 17 and Picasso was 45. He introduced himself by saying, "You have an interesting face, I would like to do a portrait of you. I am Picasso". His marriage to Olga Khokhlova was strained, due to his infidelities. As a result, Picasso's affair with Walter had to initially remain a secret.Françoise Gilot, Picasso’s partner from 1944 to 1953, commented, "I could see that she was certainly the woman who had inspired Pablo plastically more than any other. She had a very arresting face with a Grecian profile. The whole series of portraits of blonde women Pablo painted between 1927 and 1935 are almost exact replicas of her".In 1930, Picasso decided to purchase Château de Boisgeloup, a country house 45 miles northwest of Paris. This allowed him to spend time with Walter away from his wife on weekends. Despite being unaware of Picasso's relationship with Walter, Olga eventually uncovered the truth in a series of nude portraits that Picasso showcased at the retrospective exhibition at Galerie Georges Petit in October 1932. Many of Picasso's portraits of his mistress contained symbolism which was sexually charged, most notably in Le Rêve. By 1934, Olga's rage reached a crisis point and she left the apartment in Paris. In the same year on Christmas Eve, Walter informed Picasso that she was pregnant and he promised that he would file for divorce. She eventually gave birth to a daughter, Maya, on 5 September 1935. The couple stayed in a relationship for more than ten years, but never married.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Describe the characteristics of the Marie-Thérèse Walter in Girl before a Mirror's Background.

Walter was Picasso's mistress from January 1927 until 1941. Their first meeting occurred outside Galeries Lafayette in Paris, when Walter was aged 17 and Picasso was 45. He introduced himself by saying, "You have an interesting face, I would like to do a portrait of you. I am Picasso". His marriage to Olga Khokhlova was strained, due to his infidelities. As a result, Picasso's affair with Walter had to initially remain a secret.Françoise Gilot, Picasso’s partner from 1944 to 1953, commented, "I could see that she was certainly the woman who had inspired Pablo plastically more than any other. She had a very arresting face with a Grecian profile. The whole series of portraits of blonde women Pablo painted between 1927 and 1935 are almost exact replicas of her".In 1930, Picasso decided to purchase Château de Boisgeloup, a country house 45 miles northwest of Paris. This allowed him to spend time with Walter away from his wife on weekends. Despite being unaware of Picasso's relationship with Walter, Olga eventually uncovered the truth in a series of nude portraits that Picasso showcased at the retrospective exhibition at Galerie Georges Petit in October 1932. Many of Picasso's portraits of his mistress contained symbolism which was sexually charged, most notably in Le Rêve. By 1934, Olga's rage reached a crisis point and she left the apartment in Paris. In the same year on Christmas Eve, Walter informed Picasso that she was pregnant and he promised that he would file for divorce. She eventually gave birth to a daughter, Maya, on 5 September 1935. The couple stayed in a relationship for more than ten years, but never married.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Focus on Girl before a Mirror and explain the Description.

Girl Before a Mirror is portrait of Picasso's mistress, Marie-Thérèse Walter, which he created on 14 March 1932. It is signed by Picasso in white paint in the top left corner and dated on the reverse. The painting measures 162.3 cm x 130.2 cm and was created using oils on canvas. It is an image of a woman looking at her reflection in a mirror, which reveals a darker version of herself. The woman's face has been divided into two halves, one of which is presented in a calm, lilac hue, while the other is painted roughly in bright, yellow paint. The reflection offers another representation of the subject, in which she appears to be older and her face sunken, perhaps as an image of her mortality. In the background a vivid diamond pattern completes the scene, which is reminiscent of the harlequin with which Picasso so often identified in previous works.The composition is a complex arrangement of luminous colours and lines, compartmentalised into sections, which has resulted in the painting being likened to a stained-glass window or cloisonné enamel. Multiple layers in the paint show that it was reworked by Picasso to produce the final dense and compressed image. In this composition, Picasso used elements of Cubism to break apart the form of the woman. She is portrayed from the side, yet her reflection depicts her from the front. The organic nature of this portrait also displays a Surrealist style dating from the 1920s and 1930s.Picasso's use of bright colours in this painting is reminiscent of the work of other artists. This period in his artistic career is often referred to as his "Gauguin phase", due to the use of the harmonising tones of lavender and yellow used in the woman's face, which can be seen in Paul Gauguin's artwork. The patterns and bright colours present in this painting have also been likened to the work of Henri Matisse.Girl Before a Mirror is an illustration of Picasso's departure from traditional painting techniques, such as texture and tonality in the representation of the subject. In contrast to these traditions, Picasso depicted his muse with flat blocks of colour covering an entire spectrum. There is little use of light and dark that would normally be used to convey the volume of objects and no representation of texture, such as the woman's hair or skin. Picasso instead emphasised the two-dimensional nature of the canvas and paint. The image is abstract, as it depicts the woman's form unrealistically, using curvilinear lines and circular shapes to convey the fullness of her anatomy and her fertility. The composition has been carefully constructed to offset the curvilinear forms of the woman's figure with the geometric diamond pattern that frames her.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Explain the Description of this artwork, Girl before a Mirror.

Girl Before a Mirror is portrait of Picasso's mistress, Marie-Thérèse Walter, which he created on 14 March 1932. It is signed by Picasso in white paint in the top left corner and dated on the reverse. The painting measures 162.3 cm x 130.2 cm and was created using oils on canvas. It is an image of a woman looking at her reflection in a mirror, which reveals a darker version of herself. The woman's face has been divided into two halves, one of which is presented in a calm, lilac hue, while the other is painted roughly in bright, yellow paint. The reflection offers another representation of the subject, in which she appears to be older and her face sunken, perhaps as an image of her mortality. In the background a vivid diamond pattern completes the scene, which is reminiscent of the harlequin with which Picasso so often identified in previous works.The composition is a complex arrangement of luminous colours and lines, compartmentalised into sections, which has resulted in the painting being likened to a stained-glass window or cloisonné enamel. Multiple layers in the paint show that it was reworked by Picasso to produce the final dense and compressed image. In this composition, Picasso used elements of Cubism to break apart the form of the woman. She is portrayed from the side, yet her reflection depicts her from the front. The organic nature of this portrait also displays a Surrealist style dating from the 1920s and 1930s.Picasso's use of bright colours in this painting is reminiscent of the work of other artists. This period in his artistic career is often referred to as his "Gauguin phase", due to the use of the harmonising tones of lavender and yellow used in the woman's face, which can be seen in Paul Gauguin's artwork. The patterns and bright colours present in this painting have also been likened to the work of Henri Matisse.Girl Before a Mirror is an illustration of Picasso's departure from traditional painting techniques, such as texture and tonality in the representation of the subject. In contrast to these traditions, Picasso depicted his muse with flat blocks of colour covering an entire spectrum. There is little use of light and dark that would normally be used to convey the volume of objects and no representation of texture, such as the woman's hair or skin. Picasso instead emphasised the two-dimensional nature of the canvas and paint. The image is abstract, as it depicts the woman's form unrealistically, using curvilinear lines and circular shapes to convey the fullness of her anatomy and her fertility. The composition has been carefully constructed to offset the curvilinear forms of the woman's figure with the geometric diamond pattern that frames her.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: How does Girl before a Mirror explain its Description?

Girl Before a Mirror is portrait of Picasso's mistress, Marie-Thérèse Walter, which he created on 14 March 1932. It is signed by Picasso in white paint in the top left corner and dated on the reverse. The painting measures 162.3 cm x 130.2 cm and was created using oils on canvas. It is an image of a woman looking at her reflection in a mirror, which reveals a darker version of herself. The woman's face has been divided into two halves, one of which is presented in a calm, lilac hue, while the other is painted roughly in bright, yellow paint. The reflection offers another representation of the subject, in which she appears to be older and her face sunken, perhaps as an image of her mortality. In the background a vivid diamond pattern completes the scene, which is reminiscent of the harlequin with which Picasso so often identified in previous works.The composition is a complex arrangement of luminous colours and lines, compartmentalised into sections, which has resulted in the painting being likened to a stained-glass window or cloisonné enamel. Multiple layers in the paint show that it was reworked by Picasso to produce the final dense and compressed image. In this composition, Picasso used elements of Cubism to break apart the form of the woman. She is portrayed from the side, yet her reflection depicts her from the front. The organic nature of this portrait also displays a Surrealist style dating from the 1920s and 1930s.Picasso's use of bright colours in this painting is reminiscent of the work of other artists. This period in his artistic career is often referred to as his "Gauguin phase", due to the use of the harmonising tones of lavender and yellow used in the woman's face, which can be seen in Paul Gauguin's artwork. The patterns and bright colours present in this painting have also been likened to the work of Henri Matisse.Girl Before a Mirror is an illustration of Picasso's departure from traditional painting techniques, such as texture and tonality in the representation of the subject. In contrast to these traditions, Picasso depicted his muse with flat blocks of colour covering an entire spectrum. There is little use of light and dark that would normally be used to convey the volume of objects and no representation of texture, such as the woman's hair or skin. Picasso instead emphasised the two-dimensional nature of the canvas and paint. The image is abstract, as it depicts the woman's form unrealistically, using curvilinear lines and circular shapes to convey the fullness of her anatomy and her fertility. The composition has been carefully constructed to offset the curvilinear forms of the woman's figure with the geometric diamond pattern that frames her.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: In Girl before a Mirror, how is the Description discussed?

Girl Before a Mirror is portrait of Picasso's mistress, Marie-Thérèse Walter, which he created on 14 March 1932. It is signed by Picasso in white paint in the top left corner and dated on the reverse. The painting measures 162.3 cm x 130.2 cm and was created using oils on canvas. It is an image of a woman looking at her reflection in a mirror, which reveals a darker version of herself. The woman's face has been divided into two halves, one of which is presented in a calm, lilac hue, while the other is painted roughly in bright, yellow paint. The reflection offers another representation of the subject, in which she appears to be older and her face sunken, perhaps as an image of her mortality. In the background a vivid diamond pattern completes the scene, which is reminiscent of the harlequin with which Picasso so often identified in previous works.The composition is a complex arrangement of luminous colours and lines, compartmentalised into sections, which has resulted in the painting being likened to a stained-glass window or cloisonné enamel. Multiple layers in the paint show that it was reworked by Picasso to produce the final dense and compressed image. In this composition, Picasso used elements of Cubism to break apart the form of the woman. She is portrayed from the side, yet her reflection depicts her from the front. The organic nature of this portrait also displays a Surrealist style dating from the 1920s and 1930s.Picasso's use of bright colours in this painting is reminiscent of the work of other artists. This period in his artistic career is often referred to as his "Gauguin phase", due to the use of the harmonising tones of lavender and yellow used in the woman's face, which can be seen in Paul Gauguin's artwork. The patterns and bright colours present in this painting have also been likened to the work of Henri Matisse.Girl Before a Mirror is an illustration of Picasso's departure from traditional painting techniques, such as texture and tonality in the representation of the subject. In contrast to these traditions, Picasso depicted his muse with flat blocks of colour covering an entire spectrum. There is little use of light and dark that would normally be used to convey the volume of objects and no representation of texture, such as the woman's hair or skin. Picasso instead emphasised the two-dimensional nature of the canvas and paint. The image is abstract, as it depicts the woman's form unrealistically, using curvilinear lines and circular shapes to convey the fullness of her anatomy and her fertility. The composition has been carefully constructed to offset the curvilinear forms of the woman's figure with the geometric diamond pattern that frames her.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Focus on Girl before a Mirror and explain the Interpretations.

Girl Before a Mirror has been noted for its complex symbolism. The art historian Robert Rosenblum drew attention to the duality of the subject's face, which on one side has been painted smoothly in a delicate tone and, on the other side, with a garish, bright colour. This has been considered as contrasting references to youth and old age or light and darkness. Rosenblum states that Picasso is "merging... one of the most pervasive cultural myths about women inherited from the nineteenth century, the polarity between virgin and whore, archetypes that haunted Picasso from his earliest years."Anne Umland comments on the relationship between the woman and her reflection, remarking that the image "reinvents the time-honored artistic theme of a woman before her mirror in radically modern terms, tinged by the mortal associations of traditional Vanity images and by powerful psychic overtones".Picasso's rendering of the reflection in the mirror has been described by Debbie Goldberg at the Museum of Modern Art as a depiction of Death. Picasso made reference to other artworks within his compositions and may have been influenced by a painting belonging to a friend which was an image of Death holding up a mirror to a woman. The prevailing theme of this is memento mori or "remember that life is brief". Picasso also combined the elements of sex and death in his works, most notably in Les Demoiselles d’Avignon. To illustrate this theme, Picasso depicted the subject reflected in the mirror as both somber and voluptuous, indicating a transformation of the traditional subject of vanitas by combining sensuality and death.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: Explain the Interpretations of this artwork, Girl before a Mirror.

Girl Before a Mirror has been noted for its complex symbolism. The art historian Robert Rosenblum drew attention to the duality of the subject's face, which on one side has been painted smoothly in a delicate tone and, on the other side, with a garish, bright colour. This has been considered as contrasting references to youth and old age or light and darkness. Rosenblum states that Picasso is "merging... one of the most pervasive cultural myths about women inherited from the nineteenth century, the polarity between virgin and whore, archetypes that haunted Picasso from his earliest years."Anne Umland comments on the relationship between the woman and her reflection, remarking that the image "reinvents the time-honored artistic theme of a woman before her mirror in radically modern terms, tinged by the mortal associations of traditional Vanity images and by powerful psychic overtones".Picasso's rendering of the reflection in the mirror has been described by Debbie Goldberg at the Museum of Modern Art as a depiction of Death. Picasso made reference to other artworks within his compositions and may have been influenced by a painting belonging to a friend which was an image of Death holding up a mirror to a woman. The prevailing theme of this is memento mori or "remember that life is brief". Picasso also combined the elements of sex and death in his works, most notably in Les Demoiselles d’Avignon. To illustrate this theme, Picasso depicted the subject reflected in the mirror as both somber and voluptuous, indicating a transformation of the traditional subject of vanitas by combining sensuality and death.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: How does Girl before a Mirror explain its Interpretations?

Girl Before a Mirror has been noted for its complex symbolism. The art historian Robert Rosenblum drew attention to the duality of the subject's face, which on one side has been painted smoothly in a delicate tone and, on the other side, with a garish, bright colour. This has been considered as contrasting references to youth and old age or light and darkness. Rosenblum states that Picasso is "merging... one of the most pervasive cultural myths about women inherited from the nineteenth century, the polarity between virgin and whore, archetypes that haunted Picasso from his earliest years."Anne Umland comments on the relationship between the woman and her reflection, remarking that the image "reinvents the time-honored artistic theme of a woman before her mirror in radically modern terms, tinged by the mortal associations of traditional Vanity images and by powerful psychic overtones".Picasso's rendering of the reflection in the mirror has been described by Debbie Goldberg at the Museum of Modern Art as a depiction of Death. Picasso made reference to other artworks within his compositions and may have been influenced by a painting belonging to a friend which was an image of Death holding up a mirror to a woman. The prevailing theme of this is memento mori or "remember that life is brief". Picasso also combined the elements of sex and death in his works, most notably in Les Demoiselles d’Avignon. To illustrate this theme, Picasso depicted the subject reflected in the mirror as both somber and voluptuous, indicating a transformation of the traditional subject of vanitas by combining sensuality and death.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Girl before a Mirror

Prompt: In Girl before a Mirror, how is the Interpretations discussed?

Girl Before a Mirror has been noted for its complex symbolism. The art historian Robert Rosenblum drew attention to the duality of the subject's face, which on one side has been painted smoothly in a delicate tone and, on the other side, with a garish, bright colour. This has been considered as contrasting references to youth and old age or light and darkness. Rosenblum states that Picasso is "merging... one of the most pervasive cultural myths about women inherited from the nineteenth century, the polarity between virgin and whore, archetypes that haunted Picasso from his earliest years."Anne Umland comments on the relationship between the woman and her reflection, remarking that the image "reinvents the time-honored artistic theme of a woman before her mirror in radically modern terms, tinged by the mortal associations of traditional Vanity images and by powerful psychic overtones".Picasso's rendering of the reflection in the mirror has been described by Debbie Goldberg at the Museum of Modern Art as a depiction of Death. Picasso made reference to other artworks within his compositions and may have been influenced by a painting belonging to a friend which was an image of Death holding up a mirror to a woman. The prevailing theme of this is memento mori or "remember that life is brief". Picasso also combined the elements of sex and death in his works, most notably in Les Demoiselles d’Avignon. To illustrate this theme, Picasso depicted the subject reflected in the mirror as both somber and voluptuous, indicating a transformation of the traditional subject of vanitas by combining sensuality and death.

Femme au béret et à la robe quadrillée (Marie-Thérèse Walter)

Category:Articles created or expanded during Women's History Month (India) - 2015

''Femme au béret et à la robe quadrillée'' (Marie-Thérèse Walter)


Prompt: Focus on Madonna and Child with Saint Anne (Dei Palafrenieri) and explain the abstract.

The Madonna and Child with St. Anne (Dei Palafrenieri) or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms (Italian: Arciconfraternita di Sant'Anna de Parafrenieri)  in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The reputation of the model that Caravaggio used to portray the Virgin Mary could be another reason as to why this altarpiece was withdrawn. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo (Galleria Borghese).

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Explain the abstract of this artwork, Madonna and Child with Saint Anne (Dei Palafrenieri).

The Madonna and Child with St. Anne (Dei Palafrenieri) or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms (Italian: Arciconfraternita di Sant'Anna de Parafrenieri)  in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The reputation of the model that Caravaggio used to portray the Virgin Mary could be another reason as to why this altarpiece was withdrawn. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo (Galleria Borghese).

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: How does Madonna and Child with Saint Anne (Dei Palafrenieri) explain its abstract?

The Madonna and Child with St. Anne (Dei Palafrenieri) or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms (Italian: Arciconfraternita di Sant'Anna de Parafrenieri)  in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The reputation of the model that Caravaggio used to portray the Virgin Mary could be another reason as to why this altarpiece was withdrawn. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo (Galleria Borghese).

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In Madonna and Child with Saint Anne (Dei Palafrenieri), how is the abstract discussed?

The Madonna and Child with St. Anne (Dei Palafrenieri) or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms (Italian: Arciconfraternita di Sant'Anna de Parafrenieri)  in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The reputation of the model that Caravaggio used to portray the Virgin Mary could be another reason as to why this altarpiece was withdrawn. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo (Galleria Borghese).

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Focus on Madonna and Child with Saint Anne (Dei Palafrenieri) and explain the History.

Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Explain the History of this artwork, Madonna and Child with Saint Anne (Dei Palafrenieri).

Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: How does Madonna and Child with Saint Anne (Dei Palafrenieri) explain its History?

Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In Madonna and Child with Saint Anne (Dei Palafrenieri), how is the History discussed?

Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In the context of Madonna and Child with Saint Anne (Dei Palafrenieri), explain the Model and the History.

The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. Lena modeled for Caravaggio before, in his piece called Madonna of the Pilgrims., also known as the Madonna of Loreto (1603). Caravaggio developed a deep relationship with the model Lena, which explains why she was used in other works. Maurizio Marini has noted that while many have stated that Lena was a prostitute; there is no evidence to confirm this. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Explain the Model about the History of this artwork, Madonna and Child with Saint Anne (Dei Palafrenieri).

The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. Lena modeled for Caravaggio before, in his piece called Madonna of the Pilgrims., also known as the Madonna of Loreto (1603). Caravaggio developed a deep relationship with the model Lena, which explains why she was used in other works. Maurizio Marini has noted that while many have stated that Lena was a prostitute; there is no evidence to confirm this. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In Madonna and Child with Saint Anne (Dei Palafrenieri), how is the Model of the History explained?

The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. Lena modeled for Caravaggio before, in his piece called Madonna of the Pilgrims., also known as the Madonna of Loreto (1603). Caravaggio developed a deep relationship with the model Lena, which explains why she was used in other works. Maurizio Marini has noted that while many have stated that Lena was a prostitute; there is no evidence to confirm this. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Describe the characteristics of the Model in Madonna and Child with Saint Anne (Dei Palafrenieri)'s History.

The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. Lena modeled for Caravaggio before, in his piece called Madonna of the Pilgrims., also known as the Madonna of Loreto (1603). Caravaggio developed a deep relationship with the model Lena, which explains why she was used in other works. Maurizio Marini has noted that while many have stated that Lena was a prostitute; there is no evidence to confirm this. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In the context of Madonna and Child with Saint Anne (Dei Palafrenieri), explain the Removal and Rejection and the History.

Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Traditionally in Christianity, Saint Anne was praised as a symbol of Grace. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ. Another reason as to why the painting may have been removed was that Caravaggio did not put enough effort into depicting the Holy Family grouping. It was not the first time one of Caravaggio's paintings was removed from a church; another example is the Death of the Virgin, which was removed from Santa Maria della Scala.Art historian John Spike is not sure as to what the main reason this piece was removed and he cannot pinpoint it to one specific reason. Scholar Maurizio Marini believed one of the biggest reasons Caravaggio's altarpiece was removed was due to his being a murderer that committed many crimes. Caravaggio killed Ranuccio Tomassoni of Terni in a duel. The Church had the altarpiece up for two months and later it was removed.Another reason for the rejection could be that Caravaggio used the model Lena to depict her as the Virgin Mary. The Church may have rejected the piece knowing Lena was not an appropriate person to represent a holy figure since she was a prostitute. Lena developed a relationship with Mariano Pasqualone that led Caravaggio to attack Pasqualone with a sword at a restaurant called Via Della Scrofa.The infant Jesus being fully naked may have also caused controversy and could be another reason as to why the altarpiece was removed from St. Peter's. During the Counter-Reformation, the Church did not want to display art that displayed nudity, especially depicting such a holy entity.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Explain the Removal and Rejection about the History of this artwork, Madonna and Child with Saint Anne (Dei Palafrenieri).

Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Traditionally in Christianity, Saint Anne was praised as a symbol of Grace. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ. Another reason as to why the painting may have been removed was that Caravaggio did not put enough effort into depicting the Holy Family grouping. It was not the first time one of Caravaggio's paintings was removed from a church; another example is the Death of the Virgin, which was removed from Santa Maria della Scala.Art historian John Spike is not sure as to what the main reason this piece was removed and he cannot pinpoint it to one specific reason. Scholar Maurizio Marini believed one of the biggest reasons Caravaggio's altarpiece was removed was due to his being a murderer that committed many crimes. Caravaggio killed Ranuccio Tomassoni of Terni in a duel. The Church had the altarpiece up for two months and later it was removed.Another reason for the rejection could be that Caravaggio used the model Lena to depict her as the Virgin Mary. The Church may have rejected the piece knowing Lena was not an appropriate person to represent a holy figure since she was a prostitute. Lena developed a relationship with Mariano Pasqualone that led Caravaggio to attack Pasqualone with a sword at a restaurant called Via Della Scrofa.The infant Jesus being fully naked may have also caused controversy and could be another reason as to why the altarpiece was removed from St. Peter's. During the Counter-Reformation, the Church did not want to display art that displayed nudity, especially depicting such a holy entity.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In Madonna and Child with Saint Anne (Dei Palafrenieri), how is the Removal and Rejection of the History explained?

Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Traditionally in Christianity, Saint Anne was praised as a symbol of Grace. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ. Another reason as to why the painting may have been removed was that Caravaggio did not put enough effort into depicting the Holy Family grouping. It was not the first time one of Caravaggio's paintings was removed from a church; another example is the Death of the Virgin, which was removed from Santa Maria della Scala.Art historian John Spike is not sure as to what the main reason this piece was removed and he cannot pinpoint it to one specific reason. Scholar Maurizio Marini believed one of the biggest reasons Caravaggio's altarpiece was removed was due to his being a murderer that committed many crimes. Caravaggio killed Ranuccio Tomassoni of Terni in a duel. The Church had the altarpiece up for two months and later it was removed.Another reason for the rejection could be that Caravaggio used the model Lena to depict her as the Virgin Mary. The Church may have rejected the piece knowing Lena was not an appropriate person to represent a holy figure since she was a prostitute. Lena developed a relationship with Mariano Pasqualone that led Caravaggio to attack Pasqualone with a sword at a restaurant called Via Della Scrofa.The infant Jesus being fully naked may have also caused controversy and could be another reason as to why the altarpiece was removed from St. Peter's. During the Counter-Reformation, the Church did not want to display art that displayed nudity, especially depicting such a holy entity.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Describe the characteristics of the Removal and Rejection in Madonna and Child with Saint Anne (Dei Palafrenieri)'s History.

Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Traditionally in Christianity, Saint Anne was praised as a symbol of Grace. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ. Another reason as to why the painting may have been removed was that Caravaggio did not put enough effort into depicting the Holy Family grouping. It was not the first time one of Caravaggio's paintings was removed from a church; another example is the Death of the Virgin, which was removed from Santa Maria della Scala.Art historian John Spike is not sure as to what the main reason this piece was removed and he cannot pinpoint it to one specific reason. Scholar Maurizio Marini believed one of the biggest reasons Caravaggio's altarpiece was removed was due to his being a murderer that committed many crimes. Caravaggio killed Ranuccio Tomassoni of Terni in a duel. The Church had the altarpiece up for two months and later it was removed.Another reason for the rejection could be that Caravaggio used the model Lena to depict her as the Virgin Mary. The Church may have rejected the piece knowing Lena was not an appropriate person to represent a holy figure since she was a prostitute. Lena developed a relationship with Mariano Pasqualone that led Caravaggio to attack Pasqualone with a sword at a restaurant called Via Della Scrofa.The infant Jesus being fully naked may have also caused controversy and could be another reason as to why the altarpiece was removed from St. Peter's. During the Counter-Reformation, the Church did not want to display art that displayed nudity, especially depicting such a holy entity.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In the context of Madonna and Child with Saint Anne (Dei Palafrenieri), explain the Depiction and the Iconography.

While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Explain the Depiction about the Iconography of this artwork, Madonna and Child with Saint Anne (Dei Palafrenieri).

While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In Madonna and Child with Saint Anne (Dei Palafrenieri), how is the Depiction of the Iconography explained?

While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Describe the characteristics of the Depiction in Madonna and Child with Saint Anne (Dei Palafrenieri)'s Iconography.

While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In the context of Madonna and Child with Saint Anne (Dei Palafrenieri), explain the Saint Anne and the Iconography.

Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Explain the Saint Anne about the Iconography of this artwork, Madonna and Child with Saint Anne (Dei Palafrenieri).

Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In Madonna and Child with Saint Anne (Dei Palafrenieri), how is the Saint Anne of the Iconography explained?

Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Describe the characteristics of the Saint Anne in Madonna and Child with Saint Anne (Dei Palafrenieri)'s Iconography.

Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In the context of Madonna and Child with Saint Anne (Dei Palafrenieri), explain the Jesus and the Iconography.

Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Explain the Jesus about the Iconography of this artwork, Madonna and Child with Saint Anne (Dei Palafrenieri).

Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In Madonna and Child with Saint Anne (Dei Palafrenieri), how is the Jesus of the Iconography explained?

Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Describe the characteristics of the Jesus in Madonna and Child with Saint Anne (Dei Palafrenieri)'s Iconography.

Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: In the context of Madonna and Child with Saint Anne (Dei Palafrenieri), explain the Nudity and the Iconography.

Caravaggio depicted Jesus' as nude because showing his genitals represents the true human body. Caravaggio and Michelangelo believed that depicting him nude lets the viewers know that Jesus came to be represented as a free human nature from the "Adamic contagion of shame," stated by Leo Steinberg. The contagion of shame was physical health and death.Mary is leaning with her son and her cleavage is showing and she is seen wearing a tight fitted bodice. This iconography of the breast being a tight-fitted bodice came from the medieval period and traditional wear. The symbolism of showing her breast represents Madonna of Mercy’s breast milk. Breast milk is a substance and nutrition that Christ would drink and was seen as a symbol of her role in Co-redemptrix. The breasts of Mary can be compared to Christ’s wounds.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.


Prompt: Explain the Nudity about the Iconography of this artwork, Madonna and Child with Saint Anne (Dei Palafrenieri).

Caravaggio depicted Jesus' as nude because showing his genitals represents the true human body. Caravaggio and Michelangelo believed that depicting him nude lets the viewers know that Jesus came to be represented as a free human nature from the "Adamic contagion of shame," stated by Leo Steinberg. The contagion of shame was physical health and death.Mary is leaning with her son and her cleavage is showing and she is seen wearing a tight fitted bodice. This iconography of the breast being a tight-fitted bodice came from the medieval period and traditional wear. The symbolism of showing her breast represents Madonna of Mercy’s breast milk. Breast milk is a substance and nutrition that Christ would drink and was seen as a symbol of her role in Co-redemptrix. The breasts of Mary can be compared to Christ’s wounds.

Category:Paintings in the Borghese Collection

Category:Paintings of the Madonna and Child

A close-up image of Virgin Mary showing too much breast. A visual that could possibly be why the altarpiece was removed.