Freedom of Worship (painting)

Prompt: In Freedom of Worship (painting), how is the Background discussed?

Freedom of Worship is the second of a series of four oil paintings by Norman Rockwell entitled Four Freedoms. The works were inspired by President Franklin D. Roosevelt's State of the Union Address delivered to the 77th United States Congress on January 6, 1941, known as Four Freedoms. Of the Four Freedoms, the only two described in the United States Constitution are freedom of speech and freedom of religion. The Four Freedoms' theme was later incorporated into the Allies' World War II policy statement, the Atlantic Charter, and became part of the charter of the United Nations. The series of paintings ran on four consecutive weeks in The Saturday Evening Post, accompanied by essays from noted writers: Freedom of Speech (February 20), Freedom of Worship (February 27), Freedom from Want (March 6) and Freedom from Fear (March 13). For the essay accompanying Freedom of Worship, Post editor Ben Hibbs chose Durant, who was a best-selling author at the peak of his fame. At the time, Durant was in the midst of working on his ten-volume The Story of Civilization, coauthored with his wife, Ariel Durant. Will Durant also lectured on history and philosophy. Eventually, the series of paintings became widely distributed in poster form and became instrumental in the U.S. Government War Bond Drive.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Focus on Freedom of Worship (painting) and explain the Description.

The painting shows the profiles of eight heads in a modest space. The various figures represent people of different faiths in a moment of prayer. Particularly, three figures on the bottom row (right to left): a man with his head covered carrying a religious book who is Jewish, an older woman who is Protestant, and a younger woman with a well-lit face holding rosary beads who is Catholic. In 1966, Rockwell used Freedom of Worship to show his admiration for John F. Kennedy in a Look story illustration entitled JFK's Bold Legacy. The work depicts Kennedy in profile in a composition similar to Freedom of Worship along with Peace Corps volunteers.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Explain the Description of this artwork, Freedom of Worship (painting).

The painting shows the profiles of eight heads in a modest space. The various figures represent people of different faiths in a moment of prayer. Particularly, three figures on the bottom row (right to left): a man with his head covered carrying a religious book who is Jewish, an older woman who is Protestant, and a younger woman with a well-lit face holding rosary beads who is Catholic. In 1966, Rockwell used Freedom of Worship to show his admiration for John F. Kennedy in a Look story illustration entitled JFK's Bold Legacy. The work depicts Kennedy in profile in a composition similar to Freedom of Worship along with Peace Corps volunteers.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: How does Freedom of Worship (painting) explain its Description?

The painting shows the profiles of eight heads in a modest space. The various figures represent people of different faiths in a moment of prayer. Particularly, three figures on the bottom row (right to left): a man with his head covered carrying a religious book who is Jewish, an older woman who is Protestant, and a younger woman with a well-lit face holding rosary beads who is Catholic. In 1966, Rockwell used Freedom of Worship to show his admiration for John F. Kennedy in a Look story illustration entitled JFK's Bold Legacy. The work depicts Kennedy in profile in a composition similar to Freedom of Worship along with Peace Corps volunteers.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: In Freedom of Worship (painting), how is the Description discussed?

The painting shows the profiles of eight heads in a modest space. The various figures represent people of different faiths in a moment of prayer. Particularly, three figures on the bottom row (right to left): a man with his head covered carrying a religious book who is Jewish, an older woman who is Protestant, and a younger woman with a well-lit face holding rosary beads who is Catholic. In 1966, Rockwell used Freedom of Worship to show his admiration for John F. Kennedy in a Look story illustration entitled JFK's Bold Legacy. The work depicts Kennedy in profile in a composition similar to Freedom of Worship along with Peace Corps volunteers.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Focus on Freedom of Worship (painting) and explain the Production.

The original version of the painting was set in a barbershop with patrons of a variety of religions and races all waiting their turn in the barber's chair. His first workup was a 41-by-33-inch (104 cm × 84 cm) oil on canvas depicting tolerance as "the basis for a democracy's religious diversity". It included a Jew being served by a Protestant barber as a black man and a Roman Catholic priest awaited the barber's services. The problem was painting easily recognizable depictions of different religions and races because there was little agreement on what a person of a certain religion should look like. However, as he attempted to clarify the characters' depictions he found himself resorting to offensive overexaggeration, especially of the non-clerical characters. Making a Jewish man appear stereotypically Semitic, making a white customer preppy and relegating the black man to agrarian workman attire bogged down the work without speaking on behalf of the government as it should. Rockwell's intended theme was religious tolerance, but he felt the original composition did not successfully make this point.In June 1942, Post editor Ben Hibbs became supportive of Rockwell's Four Freedoms sketches, and gave Rockwell two months to complete the works. By October, the Post was worried about Rockwell's progress on the Four Freedoms and sent their art editor to Arlington to evaluate. At that time Rockwell was working on Freedom of Worship, his second painting in the series. Rockwell spent two months (October and most of November 1942) on this work, that was inspired by the phrase "Each according to the dictates of his own conscience." His Arlington, Vermont, neighbors served as his models: Three months pregnant with her hair upbraided, Rose Hoyt posed as a Catholic with a rosary, even though she was actually Protestant of the Episcopal Church. Other models were a Mrs. Harrington, Rockwell's carpenter Walter Squires, Squire's wife Clara Squires (at the right-hand edge), Winfield Secoy, and Jim Martin (center). His final version relied on other visual clues, including a rosary and a religious book. The work had dark-skinned black worshipers juxtaposed on the edges. This placement did not rock the boat with The Post who had not yet featured blacks prominently on its pages. Rockwell said he made these ethnics palatable by "'furtively' painting the face of the black woman at the top; the man at the bottom, with his fez, was too obviously foreign to offend."  The image is commonly enhanced and often darkened in reproduction because it uses a color combination of soft greys, beiges and browns.  The paint was applied thinly, which allows the weave of the canvas to contribute to the image.Rockwell has stated that he feels hands are second only to heads in importance to the expression of a story. He stated with regards to Freedom of Worship, "I depended on the hands alone to convey about half of the message I wish to put over." Rockwell's extensive effort on this work was due to his belief that religion "is an extremely delicate subject. It is so easy to hurt so many people's feelings."

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Explain the Production of this artwork, Freedom of Worship (painting).

The original version of the painting was set in a barbershop with patrons of a variety of religions and races all waiting their turn in the barber's chair. His first workup was a 41-by-33-inch (104 cm × 84 cm) oil on canvas depicting tolerance as "the basis for a democracy's religious diversity". It included a Jew being served by a Protestant barber as a black man and a Roman Catholic priest awaited the barber's services. The problem was painting easily recognizable depictions of different religions and races because there was little agreement on what a person of a certain religion should look like. However, as he attempted to clarify the characters' depictions he found himself resorting to offensive overexaggeration, especially of the non-clerical characters. Making a Jewish man appear stereotypically Semitic, making a white customer preppy and relegating the black man to agrarian workman attire bogged down the work without speaking on behalf of the government as it should. Rockwell's intended theme was religious tolerance, but he felt the original composition did not successfully make this point.In June 1942, Post editor Ben Hibbs became supportive of Rockwell's Four Freedoms sketches, and gave Rockwell two months to complete the works. By October, the Post was worried about Rockwell's progress on the Four Freedoms and sent their art editor to Arlington to evaluate. At that time Rockwell was working on Freedom of Worship, his second painting in the series. Rockwell spent two months (October and most of November 1942) on this work, that was inspired by the phrase "Each according to the dictates of his own conscience." His Arlington, Vermont, neighbors served as his models: Three months pregnant with her hair upbraided, Rose Hoyt posed as a Catholic with a rosary, even though she was actually Protestant of the Episcopal Church. Other models were a Mrs. Harrington, Rockwell's carpenter Walter Squires, Squire's wife Clara Squires (at the right-hand edge), Winfield Secoy, and Jim Martin (center). His final version relied on other visual clues, including a rosary and a religious book. The work had dark-skinned black worshipers juxtaposed on the edges. This placement did not rock the boat with The Post who had not yet featured blacks prominently on its pages. Rockwell said he made these ethnics palatable by "'furtively' painting the face of the black woman at the top; the man at the bottom, with his fez, was too obviously foreign to offend."  The image is commonly enhanced and often darkened in reproduction because it uses a color combination of soft greys, beiges and browns.  The paint was applied thinly, which allows the weave of the canvas to contribute to the image.Rockwell has stated that he feels hands are second only to heads in importance to the expression of a story. He stated with regards to Freedom of Worship, "I depended on the hands alone to convey about half of the message I wish to put over." Rockwell's extensive effort on this work was due to his belief that religion "is an extremely delicate subject. It is so easy to hurt so many people's feelings."

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: How does Freedom of Worship (painting) explain its Production?

The original version of the painting was set in a barbershop with patrons of a variety of religions and races all waiting their turn in the barber's chair. His first workup was a 41-by-33-inch (104 cm × 84 cm) oil on canvas depicting tolerance as "the basis for a democracy's religious diversity". It included a Jew being served by a Protestant barber as a black man and a Roman Catholic priest awaited the barber's services. The problem was painting easily recognizable depictions of different religions and races because there was little agreement on what a person of a certain religion should look like. However, as he attempted to clarify the characters' depictions he found himself resorting to offensive overexaggeration, especially of the non-clerical characters. Making a Jewish man appear stereotypically Semitic, making a white customer preppy and relegating the black man to agrarian workman attire bogged down the work without speaking on behalf of the government as it should. Rockwell's intended theme was religious tolerance, but he felt the original composition did not successfully make this point.In June 1942, Post editor Ben Hibbs became supportive of Rockwell's Four Freedoms sketches, and gave Rockwell two months to complete the works. By October, the Post was worried about Rockwell's progress on the Four Freedoms and sent their art editor to Arlington to evaluate. At that time Rockwell was working on Freedom of Worship, his second painting in the series. Rockwell spent two months (October and most of November 1942) on this work, that was inspired by the phrase "Each according to the dictates of his own conscience." His Arlington, Vermont, neighbors served as his models: Three months pregnant with her hair upbraided, Rose Hoyt posed as a Catholic with a rosary, even though she was actually Protestant of the Episcopal Church. Other models were a Mrs. Harrington, Rockwell's carpenter Walter Squires, Squire's wife Clara Squires (at the right-hand edge), Winfield Secoy, and Jim Martin (center). His final version relied on other visual clues, including a rosary and a religious book. The work had dark-skinned black worshipers juxtaposed on the edges. This placement did not rock the boat with The Post who had not yet featured blacks prominently on its pages. Rockwell said he made these ethnics palatable by "'furtively' painting the face of the black woman at the top; the man at the bottom, with his fez, was too obviously foreign to offend."  The image is commonly enhanced and often darkened in reproduction because it uses a color combination of soft greys, beiges and browns.  The paint was applied thinly, which allows the weave of the canvas to contribute to the image.Rockwell has stated that he feels hands are second only to heads in importance to the expression of a story. He stated with regards to Freedom of Worship, "I depended on the hands alone to convey about half of the message I wish to put over." Rockwell's extensive effort on this work was due to his belief that religion "is an extremely delicate subject. It is so easy to hurt so many people's feelings."

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: In Freedom of Worship (painting), how is the Production discussed?

The original version of the painting was set in a barbershop with patrons of a variety of religions and races all waiting their turn in the barber's chair. His first workup was a 41-by-33-inch (104 cm × 84 cm) oil on canvas depicting tolerance as "the basis for a democracy's religious diversity". It included a Jew being served by a Protestant barber as a black man and a Roman Catholic priest awaited the barber's services. The problem was painting easily recognizable depictions of different religions and races because there was little agreement on what a person of a certain religion should look like. However, as he attempted to clarify the characters' depictions he found himself resorting to offensive overexaggeration, especially of the non-clerical characters. Making a Jewish man appear stereotypically Semitic, making a white customer preppy and relegating the black man to agrarian workman attire bogged down the work without speaking on behalf of the government as it should. Rockwell's intended theme was religious tolerance, but he felt the original composition did not successfully make this point.In June 1942, Post editor Ben Hibbs became supportive of Rockwell's Four Freedoms sketches, and gave Rockwell two months to complete the works. By October, the Post was worried about Rockwell's progress on the Four Freedoms and sent their art editor to Arlington to evaluate. At that time Rockwell was working on Freedom of Worship, his second painting in the series. Rockwell spent two months (October and most of November 1942) on this work, that was inspired by the phrase "Each according to the dictates of his own conscience." His Arlington, Vermont, neighbors served as his models: Three months pregnant with her hair upbraided, Rose Hoyt posed as a Catholic with a rosary, even though she was actually Protestant of the Episcopal Church. Other models were a Mrs. Harrington, Rockwell's carpenter Walter Squires, Squire's wife Clara Squires (at the right-hand edge), Winfield Secoy, and Jim Martin (center). His final version relied on other visual clues, including a rosary and a religious book. The work had dark-skinned black worshipers juxtaposed on the edges. This placement did not rock the boat with The Post who had not yet featured blacks prominently on its pages. Rockwell said he made these ethnics palatable by "'furtively' painting the face of the black woman at the top; the man at the bottom, with his fez, was too obviously foreign to offend."  The image is commonly enhanced and often darkened in reproduction because it uses a color combination of soft greys, beiges and browns.  The paint was applied thinly, which allows the weave of the canvas to contribute to the image.Rockwell has stated that he feels hands are second only to heads in importance to the expression of a story. He stated with regards to Freedom of Worship, "I depended on the hands alone to convey about half of the message I wish to put over." Rockwell's extensive effort on this work was due to his belief that religion "is an extremely delicate subject. It is so easy to hurt so many people's feelings."

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Focus on Freedom of Worship (painting) and explain the Critical review.

Post editor Ben Hibbs said of Speech and Worship, "To me they are great human documents in the form of paint and canvas. A great picture, I think is one which moves and inspires millions of people. The Four Freedoms did – and do." Walt Disney wrote, "I thought [Rockwell's] Four Freedoms were great. I especially loved the Freedom of Worship and the composition and symbolism expressed in it." Rockwell believed that Freedom of Worship and Freedom of Speech were his better results in the series. Laura Claridge has written that the inspirational phrase "Each according to the dictates of his own conscience" is a "platitude that suggests the plurality of Rockwell's own thoughts on religion: its likely source was a phrase included in the Thirteen Articles of Faith by Joseph Smith." In fact, Rockwell repeatedly asked colleagues about possible sources of the quote and was not told about Smith's writing until after the series was published. The expression "according to the dictates of his conscience" (or a similar variation) was used in many United States state constitutions in the eighteenth century.Critical review of the painting shows that some practitioners of particular faiths are disappointed by the acceptance of all faiths expressed in Freedom of Religion. Claridge feels that the tight amalgam of faces ... and even the crepey skin on elderly hands, which have become the objects of worship, push the theme over the edge from idealistic tolerance into gooey sentiment, where human differences seem caught up in a magical moment of dispensation from the Light. The restraint demanded by art that deals with heightened emotion is lacking. Claridge stated that the earlier version was "clean, impressively sparse, in counterpoise to a dense narrative content. Beautifully painted even at the preliminary oil sketch stage." Murray and McCabe note that the work is a divergence from the "storytelling style" that Rockwell is known for.Deborah Solomon considers the painting the least satisfactory of the series as she feels it is congested and somewhat "didactic".  Maureen Hart Hennessey, chief curator of the Norman Rockwell Museum, and curator Anne Knutson consider the scale of the picture that only shows heads and hands in prayer as disruptive. Bruce Cole of The Wall Street Journal noted that Rockwell's "depiction of spectral close-up faces and hands raised in prayer is bland, without any real message about religious freedom—again, no wallop. This is because faith, like the absence of fear and the absence of want, is essentially private, something personal, intangible and unpicturable."

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Explain the Critical review of this artwork, Freedom of Worship (painting).

Post editor Ben Hibbs said of Speech and Worship, "To me they are great human documents in the form of paint and canvas. A great picture, I think is one which moves and inspires millions of people. The Four Freedoms did – and do." Walt Disney wrote, "I thought [Rockwell's] Four Freedoms were great. I especially loved the Freedom of Worship and the composition and symbolism expressed in it." Rockwell believed that Freedom of Worship and Freedom of Speech were his better results in the series. Laura Claridge has written that the inspirational phrase "Each according to the dictates of his own conscience" is a "platitude that suggests the plurality of Rockwell's own thoughts on religion: its likely source was a phrase included in the Thirteen Articles of Faith by Joseph Smith." In fact, Rockwell repeatedly asked colleagues about possible sources of the quote and was not told about Smith's writing until after the series was published. The expression "according to the dictates of his conscience" (or a similar variation) was used in many United States state constitutions in the eighteenth century.Critical review of the painting shows that some practitioners of particular faiths are disappointed by the acceptance of all faiths expressed in Freedom of Religion. Claridge feels that the tight amalgam of faces ... and even the crepey skin on elderly hands, which have become the objects of worship, push the theme over the edge from idealistic tolerance into gooey sentiment, where human differences seem caught up in a magical moment of dispensation from the Light. The restraint demanded by art that deals with heightened emotion is lacking. Claridge stated that the earlier version was "clean, impressively sparse, in counterpoise to a dense narrative content. Beautifully painted even at the preliminary oil sketch stage." Murray and McCabe note that the work is a divergence from the "storytelling style" that Rockwell is known for.Deborah Solomon considers the painting the least satisfactory of the series as she feels it is congested and somewhat "didactic".  Maureen Hart Hennessey, chief curator of the Norman Rockwell Museum, and curator Anne Knutson consider the scale of the picture that only shows heads and hands in prayer as disruptive. Bruce Cole of The Wall Street Journal noted that Rockwell's "depiction of spectral close-up faces and hands raised in prayer is bland, without any real message about religious freedom—again, no wallop. This is because faith, like the absence of fear and the absence of want, is essentially private, something personal, intangible and unpicturable."

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: How does Freedom of Worship (painting) explain its Critical review?

Post editor Ben Hibbs said of Speech and Worship, "To me they are great human documents in the form of paint and canvas. A great picture, I think is one which moves and inspires millions of people. The Four Freedoms did – and do." Walt Disney wrote, "I thought [Rockwell's] Four Freedoms were great. I especially loved the Freedom of Worship and the composition and symbolism expressed in it." Rockwell believed that Freedom of Worship and Freedom of Speech were his better results in the series. Laura Claridge has written that the inspirational phrase "Each according to the dictates of his own conscience" is a "platitude that suggests the plurality of Rockwell's own thoughts on religion: its likely source was a phrase included in the Thirteen Articles of Faith by Joseph Smith." In fact, Rockwell repeatedly asked colleagues about possible sources of the quote and was not told about Smith's writing until after the series was published. The expression "according to the dictates of his conscience" (or a similar variation) was used in many United States state constitutions in the eighteenth century.Critical review of the painting shows that some practitioners of particular faiths are disappointed by the acceptance of all faiths expressed in Freedom of Religion. Claridge feels that the tight amalgam of faces ... and even the crepey skin on elderly hands, which have become the objects of worship, push the theme over the edge from idealistic tolerance into gooey sentiment, where human differences seem caught up in a magical moment of dispensation from the Light. The restraint demanded by art that deals with heightened emotion is lacking. Claridge stated that the earlier version was "clean, impressively sparse, in counterpoise to a dense narrative content. Beautifully painted even at the preliminary oil sketch stage." Murray and McCabe note that the work is a divergence from the "storytelling style" that Rockwell is known for.Deborah Solomon considers the painting the least satisfactory of the series as she feels it is congested and somewhat "didactic".  Maureen Hart Hennessey, chief curator of the Norman Rockwell Museum, and curator Anne Knutson consider the scale of the picture that only shows heads and hands in prayer as disruptive. Bruce Cole of The Wall Street Journal noted that Rockwell's "depiction of spectral close-up faces and hands raised in prayer is bland, without any real message about religious freedom—again, no wallop. This is because faith, like the absence of fear and the absence of want, is essentially private, something personal, intangible and unpicturable."

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: In Freedom of Worship (painting), how is the Critical review discussed?

Post editor Ben Hibbs said of Speech and Worship, "To me they are great human documents in the form of paint and canvas. A great picture, I think is one which moves and inspires millions of people. The Four Freedoms did – and do." Walt Disney wrote, "I thought [Rockwell's] Four Freedoms were great. I especially loved the Freedom of Worship and the composition and symbolism expressed in it." Rockwell believed that Freedom of Worship and Freedom of Speech were his better results in the series. Laura Claridge has written that the inspirational phrase "Each according to the dictates of his own conscience" is a "platitude that suggests the plurality of Rockwell's own thoughts on religion: its likely source was a phrase included in the Thirteen Articles of Faith by Joseph Smith." In fact, Rockwell repeatedly asked colleagues about possible sources of the quote and was not told about Smith's writing until after the series was published. The expression "according to the dictates of his conscience" (or a similar variation) was used in many United States state constitutions in the eighteenth century.Critical review of the painting shows that some practitioners of particular faiths are disappointed by the acceptance of all faiths expressed in Freedom of Religion. Claridge feels that the tight amalgam of faces ... and even the crepey skin on elderly hands, which have become the objects of worship, push the theme over the edge from idealistic tolerance into gooey sentiment, where human differences seem caught up in a magical moment of dispensation from the Light. The restraint demanded by art that deals with heightened emotion is lacking. Claridge stated that the earlier version was "clean, impressively sparse, in counterpoise to a dense narrative content. Beautifully painted even at the preliminary oil sketch stage." Murray and McCabe note that the work is a divergence from the "storytelling style" that Rockwell is known for.Deborah Solomon considers the painting the least satisfactory of the series as she feels it is congested and somewhat "didactic".  Maureen Hart Hennessey, chief curator of the Norman Rockwell Museum, and curator Anne Knutson consider the scale of the picture that only shows heads and hands in prayer as disruptive. Bruce Cole of The Wall Street Journal noted that Rockwell's "depiction of spectral close-up faces and hands raised in prayer is bland, without any real message about religious freedom—again, no wallop. This is because faith, like the absence of fear and the absence of want, is essentially private, something personal, intangible and unpicturable."

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Focus on Freedom of Worship (painting) and explain the Other.

In 2018 Sharon Brous, among others, was on the cover of Time; the cover was based on this painting.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Explain the Other of this artwork, Freedom of Worship (painting).

In 2018 Sharon Brous, among others, was on the cover of Time; the cover was based on this painting.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: How does Freedom of Worship (painting) explain its Other?

In 2018 Sharon Brous, among others, was on the cover of Time; the cover was based on this painting.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: In Freedom of Worship (painting), how is the Other discussed?

In 2018 Sharon Brous, among others, was on the cover of Time; the cover was based on this painting.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Focus on Freedom of Worship (painting) and explain the General and cited references.

Claridge, Laura (2001). "21: The Big Ideas". Norman Rockwell: A Life. Random House. pp. 303–314. ISBN 0-375-50453-2.Hennessey, Maureen Hart; Anne Knutson (1999). "The Four Freedoms". Norman Rockwell: Pictures for the American People. Harry N. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. pp. 94–102. ISBN 0-8109-6392-2.Meyer, Susan E. (1981). Norman Rockwell's People. Harry N. Abrams. pp. 128–33. ISBN 0-8109-1777-7.Murray, Stuart; James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. ISBN 0-517-20213-1.Rockwell, Norman (1983). "The Importance of Detail". How I Make a Picture. Watson-Guptill Publications. p. 64. ISBN 0-8230-2384-2.Solomon, Deborah (2013). "Fifteen: The Four Freedoms (May 1942 to May 1943)". American Mirror: The Life and Art of Norman Rockwell. Farrar, Straus and Giroux. pp. 201–220. ISBN 978-0-374-11309-4.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: Explain the General and cited references of this artwork, Freedom of Worship (painting).

Claridge, Laura (2001). "21: The Big Ideas". Norman Rockwell: A Life. Random House. pp. 303–314. ISBN 0-375-50453-2.Hennessey, Maureen Hart; Anne Knutson (1999). "The Four Freedoms". Norman Rockwell: Pictures for the American People. Harry N. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. pp. 94–102. ISBN 0-8109-6392-2.Meyer, Susan E. (1981). Norman Rockwell's People. Harry N. Abrams. pp. 128–33. ISBN 0-8109-1777-7.Murray, Stuart; James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. ISBN 0-517-20213-1.Rockwell, Norman (1983). "The Importance of Detail". How I Make a Picture. Watson-Guptill Publications. p. 64. ISBN 0-8230-2384-2.Solomon, Deborah (2013). "Fifteen: The Four Freedoms (May 1942 to May 1943)". American Mirror: The Life and Art of Norman Rockwell. Farrar, Straus and Giroux. pp. 201–220. ISBN 978-0-374-11309-4.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: How does Freedom of Worship (painting) explain its General and cited references?

Claridge, Laura (2001). "21: The Big Ideas". Norman Rockwell: A Life. Random House. pp. 303–314. ISBN 0-375-50453-2.Hennessey, Maureen Hart; Anne Knutson (1999). "The Four Freedoms". Norman Rockwell: Pictures for the American People. Harry N. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. pp. 94–102. ISBN 0-8109-6392-2.Meyer, Susan E. (1981). Norman Rockwell's People. Harry N. Abrams. pp. 128–33. ISBN 0-8109-1777-7.Murray, Stuart; James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. ISBN 0-517-20213-1.Rockwell, Norman (1983). "The Importance of Detail". How I Make a Picture. Watson-Guptill Publications. p. 64. ISBN 0-8230-2384-2.Solomon, Deborah (2013). "Fifteen: The Four Freedoms (May 1942 to May 1943)". American Mirror: The Life and Art of Norman Rockwell. Farrar, Straus and Giroux. pp. 201–220. ISBN 978-0-374-11309-4.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


Freedom of Worship (painting)

Prompt: In Freedom of Worship (painting), how is the General and cited references discussed?

Claridge, Laura (2001). "21: The Big Ideas". Norman Rockwell: A Life. Random House. pp. 303–314. ISBN 0-375-50453-2.Hennessey, Maureen Hart; Anne Knutson (1999). "The Four Freedoms". Norman Rockwell: Pictures for the American People. Harry N. Abrams, Inc. with High Museum of Art and Norman Rockwell Museum. pp. 94–102. ISBN 0-8109-6392-2.Meyer, Susan E. (1981). Norman Rockwell's People. Harry N. Abrams. pp. 128–33. ISBN 0-8109-1777-7.Murray, Stuart; James McCabe (1993). Norman Rockwell's Four Freedoms. Gramercy Books. ISBN 0-517-20213-1.Rockwell, Norman (1983). "The Importance of Detail". How I Make a Picture. Watson-Guptill Publications. p. 64. ISBN 0-8230-2384-2.Solomon, Deborah (2013). "Fifteen: The Four Freedoms (May 1942 to May 1943)". American Mirror: The Life and Art of Norman Rockwell. Farrar, Straus and Giroux. pp. 201–220. ISBN 978-0-374-11309-4.

The original draft of ''Freedom of Worship'' was set in a barbershop.

File:Freedom of Worship original draft.jpg

Category:Works originally published in The Saturday Evening Post


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the abstract.

The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the abstract of this artwork, The Musicians (Caravaggio).

The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its abstract?

The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the abstract discussed?

The Musicians or Concert of Youths (c. 1595) is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio (1571–1610). The work was commissioned by Cardinal Francesco Maria del Monte, who had an avid interest in music. It is one of Caravaggio’s more complex paintings, with four figures that were likely painted from life.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Patron.

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various expensive musical instruments, which Caravaggio could use as models in his works for the wealthy patron.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Patron of this artwork, The Musicians (Caravaggio).

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various expensive musical instruments, which Caravaggio could use as models in his works for the wealthy patron.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Patron?

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various expensive musical instruments, which Caravaggio could use as models in his works for the wealthy patron.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Patron discussed?

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal. His biographer, the painter Baglione, says he "painted for the Cardinal, youths playing music very well drawn from nature and also a youth playing a lute," the latter presumably being The Lute Player, which seems to form a companion-piece to The Musicians.Cardinal Del Monte owned various expensive musical instruments, which Caravaggio could use as models in his works for the wealthy patron.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In the context of The Musicians (Caravaggio), explain the Provenance and the Patron.

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Provenance about the Patron of this artwork, The Musicians (Caravaggio).

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Provenance of the Patron explained?

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Describe the characteristics of the Provenance in The Musicians (Caravaggio)'s Patron.

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Description & Interpretations.

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Description & Interpretations of this artwork, The Musicians (Caravaggio).

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Description & Interpretations?

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Description & Interpretations discussed?

The picture displays four boys in classical costume (Greek or Roman robes): three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes. The picture is an allegory relating music to the sustenance of love in the same way that food is the sustenance of life. This was one of Caravaggio's more challenging compositions and the artist placed the four figures closely together within the small space of the canvas—the placement of the figures in the composition display a relaxed front and back formation of the male subjects. The painting was in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Andrew Graham-Dixon notes that despite this damage, the work's originality remains undimmed.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In the context of The Musicians (Caravaggio), explain the Iconography and Symbolism and the Description & Interpretations.

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Iconography and Symbolism about the Description & Interpretations of this artwork, The Musicians (Caravaggio).

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Iconography and Symbolism of the Description & Interpretations explained?

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Describe the characteristics of the Iconography and Symbolism in The Musicians (Caravaggio)'s Description & Interpretations.

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In the context of The Musicians (Caravaggio), explain the Identity of the Figures and the Description & Interpretations.

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Identity of the Figures about the Description & Interpretations of this artwork, The Musicians (Caravaggio).

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Identity of the Figures of the Description & Interpretations explained?

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Describe the characteristics of the Identity of the Figures in The Musicians (Caravaggio)'s Description & Interpretations.

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The Cupid bears resemblance to the boy in Boy Peeling Fruit, done a few years before, and also to the angel in Saint Francis of Assisi in Ecstasy.The individuals who modeled for Caravaggio were essential to his artwork. The depictions he created from live models maintained the unique features of each individual even when portraying characters from biblical or mythological stories. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Historical Context.

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Historical Context of this artwork, The Musicians (Caravaggio).

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Historical Context?

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Historical Context discussed?

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte. This scene, however, is clearly secular rather than religious, and harks back to the long-established tradition of "concert" pictures, a genre originating in Venice and exemplified in its earlier form by Titian's Le concert champêtre.This painting falls into the period of Baroque art, which had a rich relationship with theater and music. Music and concerts became entertainment for people belonging to upper classes, like the aristocracy or people who held a high position or rank. Going to the opera or being able to view a live concert was very popular during the Baroque Period.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Recovering Lost Fictions.

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9 to December 28 of 1997.This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Recovering Lost Fictions of this artwork, The Musicians (Caravaggio).

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9 to December 28 of 1997.This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Recovering Lost Fictions?

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9 to December 28 of 1997.This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Recovering Lost Fictions discussed?

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely. Their project explored the history of this piece, and revealed information through X-rays and research of another history of the painting not previously known. Their work reveals that there was more than one copy of this painting, It also conveys the relationship between the first and second painting. Their research also explored the x-rays taken of Del Monte's version, which revealed Caravaggio had painted over an original scene that is described as an incident between the musicians. The project also included an installation created by the artists that displayed their research and resources such as x-rays, monographs and records related to the restoration of the painting. The installation was placed alongside the painting for its exhibition that ran from October 9 to December 28 of 1997.This project was also accompanied by a publication of the book Recovering lost fictions: Caravaggio's Musicians. The book was published by MIT List Visual Arts Center in 1997 and includes one essay by Joseph Grigely.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Focus on The Musicians (Caravaggio) and explain the Loan to Australia.

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: Explain the Loan to Australia of this artwork, The Musicians (Caravaggio).

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: How does The Musicians (Caravaggio) explain its Loan to Australia?

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


The Musicians (Caravaggio)

Prompt: In The Musicians (Caravaggio), how is the Loan to Australia discussed?

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Category:Paintings in the Metropolitan Museum of Art

The Lute Player, 1596, oil on canvas, Caravaggio

The Journal of Aesthetics and Art Criticism

File:L'Amour aiguisant ses flèches - Robert Lefèvre.jpg

File:1596 Caravaggio, The Lute Player New York.jpg

Cupid sharpening his arrows, painting by Robert Lefèvre exhibited at the Salon of 1798 (n°260)

Saint Francis of Assisi in Ecstasy (Caravaggio)


View of Delft

Prompt: Focus on View of Delft and explain the abstract.

View of Delft (Dutch: Gezicht op Delft) is an oil painting by Johannes Vermeer, painted c. 1659–1661. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of Delft by Vermeer, along with The Little Street and the lost painting House Standing in Delft, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's View of Delft has been held in the Dutch Royal Cabinet of Paintings at the Mauritshuis in The Hague since its establishment in 1822.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: Explain the abstract of this artwork, View of Delft.

View of Delft (Dutch: Gezicht op Delft) is an oil painting by Johannes Vermeer, painted c. 1659–1661. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of Delft by Vermeer, along with The Little Street and the lost painting House Standing in Delft, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's View of Delft has been held in the Dutch Royal Cabinet of Paintings at the Mauritshuis in The Hague since its establishment in 1822.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: How does View of Delft explain its abstract?

View of Delft (Dutch: Gezicht op Delft) is an oil painting by Johannes Vermeer, painted c. 1659–1661. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of Delft by Vermeer, along with The Little Street and the lost painting House Standing in Delft, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's View of Delft has been held in the Dutch Royal Cabinet of Paintings at the Mauritshuis in The Hague since its establishment in 1822.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg


View of Delft

Prompt: In View of Delft, how is the abstract discussed?

View of Delft (Dutch: Gezicht op Delft) is an oil painting by Johannes Vermeer, painted c. 1659–1661. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of Delft by Vermeer, along with The Little Street and the lost painting House Standing in Delft, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's View of Delft has been held in the Dutch Royal Cabinet of Paintings at the Mauritshuis in The Hague since its establishment in 1822.

Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652

A photograph taken in 2019 from approximately the point where Vermeer painted the painting.

File:Carel fabritius, veduta di delft con banco di venditore di strumenti musicali, 1652.jpg

Category:Landscape paintings by Johannes Vermeer

''View of Delft Explosion of 1654'' by [[Egbert van der Poel

File:Egbert van der Poel - View of Delft after the Explosion of 1654 - WGA17990.jpg

Pieter Wouwerman – Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)

File:Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft.jpg