Battle of the Centaurs (Michelangelo)

Prompt: How does Battle of the Centaurs (Michelangelo) explain its Composition and technique?

The relief consists of a mass of nude figures writhing in combat, placed underneath a roughed-out strip in which the artist's chisel marks remain visible. Art historian Howard Hibbard says that Michelangelo has obscured the centaurs, as most of the figures are represented from the waist up. Part of one of the few identifiable centaurs is visible in the bottom center, his leg extending between the legs of the twisting figure above him and his rump pinning another to the ground.  According to Hibbard, Michelangelo has obscured a lone female figure in the work. The attempt to abduct Hippodamia had been the provocation for the brawl, however, and she is given a central location in the sculpture by Michelangelo. Her position balances the composition by placement similar to that of the twisted figure on the left. Her body also is twisting. They are equidistant from the edges of the composition. She is one of only two figures whose full body is displayed in the work. They both are displayed from head to toe. She can be seen among the figures in the center right, grasping the arm of one of her assailants, who has grabbed her hair. Her head, arms, back, hip, left leg, and left foot are displayed prominently. Another assailant, placed behind her, has his arm around her torso. Battle of the Centaurs was an early turning point and a harbinger of Michelangelo's future sculptural technique. The Michelangelo biographers, Antonio Forcellino and Allan Cameron, say that Michelangelo's relief, while created in a classical tradition, departed significantly from the techniques established by such masters as Lorenzo Ghiberti and Donatello. Rather than working on discrete, parallel planes as his predecessors had done, Michelangelo carved his figures dynamically, within "infinite" planes. Forcellino and Cameron describe this break with modern practice as Michelangelo's "own personal revolution", and they point specifically to the left of the relief where a twisting figure becomes "something of an artistic manifesto." Particularly striking is the composition of the figure's upper limbs, which deviate from the carefully articulated norms. Also remarkable, according to them, is the manner in which Michelangelo sculpted independently of his preparatory drawings, freeing him from the constraints of two-dimensional vision and allowing him to merge the figures fluidly and multi-dimensionally.Battle of the Centaurs was also the first sculpture for which Michelangelo eschewed the use of the bow drill. Finer details of the relief were probably achieved with the use of a toothed chisel called a gradina. The smooth figures of the foreground contrast strongly with the roughly hewn background, created with a subbia chisel. A traditional sculptor's tool, the subbia produced punched marks that had never before been left as a final surface in a work completed to this degree. Georgia Illetschko insisted in 2004, these unfinished surfaces are "a conscious compositional element", and not due to a lack of time. According to Scigliano, it was an important development in the non finito sculpting technique.

File:Michelangelo, centauromachia, 1492 ca. 07.JPG

''Battle of the Centaurs'', detail.<br>The fluidity of the twisting figure's limbs is a departure from the careful articulation of earlier Italian Renaissance sculpture.<ref name="ForcellinoCameron2009"/>

File:Michelangelo, centauromachia, 1492 ca., 14.JPG


Battle of the Centaurs (Michelangelo)

Prompt: In Battle of the Centaurs (Michelangelo), how is the Composition and technique discussed?

The relief consists of a mass of nude figures writhing in combat, placed underneath a roughed-out strip in which the artist's chisel marks remain visible. Art historian Howard Hibbard says that Michelangelo has obscured the centaurs, as most of the figures are represented from the waist up. Part of one of the few identifiable centaurs is visible in the bottom center, his leg extending between the legs of the twisting figure above him and his rump pinning another to the ground.  According to Hibbard, Michelangelo has obscured a lone female figure in the work. The attempt to abduct Hippodamia had been the provocation for the brawl, however, and she is given a central location in the sculpture by Michelangelo. Her position balances the composition by placement similar to that of the twisted figure on the left. Her body also is twisting. They are equidistant from the edges of the composition. She is one of only two figures whose full body is displayed in the work. They both are displayed from head to toe. She can be seen among the figures in the center right, grasping the arm of one of her assailants, who has grabbed her hair. Her head, arms, back, hip, left leg, and left foot are displayed prominently. Another assailant, placed behind her, has his arm around her torso. Battle of the Centaurs was an early turning point and a harbinger of Michelangelo's future sculptural technique. The Michelangelo biographers, Antonio Forcellino and Allan Cameron, say that Michelangelo's relief, while created in a classical tradition, departed significantly from the techniques established by such masters as Lorenzo Ghiberti and Donatello. Rather than working on discrete, parallel planes as his predecessors had done, Michelangelo carved his figures dynamically, within "infinite" planes. Forcellino and Cameron describe this break with modern practice as Michelangelo's "own personal revolution", and they point specifically to the left of the relief where a twisting figure becomes "something of an artistic manifesto." Particularly striking is the composition of the figure's upper limbs, which deviate from the carefully articulated norms. Also remarkable, according to them, is the manner in which Michelangelo sculpted independently of his preparatory drawings, freeing him from the constraints of two-dimensional vision and allowing him to merge the figures fluidly and multi-dimensionally.Battle of the Centaurs was also the first sculpture for which Michelangelo eschewed the use of the bow drill. Finer details of the relief were probably achieved with the use of a toothed chisel called a gradina. The smooth figures of the foreground contrast strongly with the roughly hewn background, created with a subbia chisel. A traditional sculptor's tool, the subbia produced punched marks that had never before been left as a final surface in a work completed to this degree. Georgia Illetschko insisted in 2004, these unfinished surfaces are "a conscious compositional element", and not due to a lack of time. According to Scigliano, it was an important development in the non finito sculpting technique.

File:Michelangelo, centauromachia, 1492 ca. 07.JPG

''Battle of the Centaurs'', detail.<br>The fluidity of the twisting figure's limbs is a departure from the careful articulation of earlier Italian Renaissance sculpture.<ref name="ForcellinoCameron2009"/>

File:Michelangelo, centauromachia, 1492 ca., 14.JPG


The Sacrament of the Last Supper

Prompt: Focus on The Sacrament of the Last Supper and explain the abstract.

The Sacrament of the Last Supper is a painting by Salvador Dalí. Completed in 1955, after nine months of work, it remains one of his most popular compositions. Since its arrival at the National Gallery of Art in Washington, D.C. in 1955, it replaced Renoir's A Girl with a Watering Can as the most popular piece in the museum.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: Explain the abstract of this artwork, The Sacrament of the Last Supper.

The Sacrament of the Last Supper is a painting by Salvador Dalí. Completed in 1955, after nine months of work, it remains one of his most popular compositions. Since its arrival at the National Gallery of Art in Washington, D.C. in 1955, it replaced Renoir's A Girl with a Watering Can as the most popular piece in the museum.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: How does The Sacrament of the Last Supper explain its abstract?

The Sacrament of the Last Supper is a painting by Salvador Dalí. Completed in 1955, after nine months of work, it remains one of his most popular compositions. Since its arrival at the National Gallery of Art in Washington, D.C. in 1955, it replaced Renoir's A Girl with a Watering Can as the most popular piece in the museum.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: In The Sacrament of the Last Supper, how is the abstract discussed?

The Sacrament of the Last Supper is a painting by Salvador Dalí. Completed in 1955, after nine months of work, it remains one of his most popular compositions. Since its arrival at the National Gallery of Art in Washington, D.C. in 1955, it replaced Renoir's A Girl with a Watering Can as the most popular piece in the museum.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: Focus on The Sacrament of the Last Supper and explain the Background.

The Sacrament of the Last Supper was completed during Dalí's post-World War II period, which is characterized by his increased interest in science, optical illusion and religion. During this time he became a devout Roman Catholic and simultaneously was astonished by the "atomic age". Dalí himself labelled this era in his work "Nuclear Mysticism". He sought to combine traditional Christian iconography with images of disintegration. This is especially apparent in his piece The Madonna of Port Lligat, which was completed six years earlier.The painting was not commissioned. After purchasing the Crucifixion and then giving it to the Metropolitan Museum of Art, collector and banker Chester Dale told Dalí he "had to do one more religious picture". Dale believed that this picture was "too important to keep for a few" and so donated it to the National Gallery. In a paragraph in the National Gallery's curatorial file but missing from all published accounts, Dalí wrote of this picture:The first Holy Communion on Earth is conceived as a sacred rite of the greatest happiness for humanity. This rite is expressed with plastic means and not with literary ones. My ambition was to incorporate to Zurbarán's mystical realism the experimental creativeness of modern painting in my desire to make it classic.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: Explain the Background of this artwork, The Sacrament of the Last Supper.

The Sacrament of the Last Supper was completed during Dalí's post-World War II period, which is characterized by his increased interest in science, optical illusion and religion. During this time he became a devout Roman Catholic and simultaneously was astonished by the "atomic age". Dalí himself labelled this era in his work "Nuclear Mysticism". He sought to combine traditional Christian iconography with images of disintegration. This is especially apparent in his piece The Madonna of Port Lligat, which was completed six years earlier.The painting was not commissioned. After purchasing the Crucifixion and then giving it to the Metropolitan Museum of Art, collector and banker Chester Dale told Dalí he "had to do one more religious picture". Dale believed that this picture was "too important to keep for a few" and so donated it to the National Gallery. In a paragraph in the National Gallery's curatorial file but missing from all published accounts, Dalí wrote of this picture:The first Holy Communion on Earth is conceived as a sacred rite of the greatest happiness for humanity. This rite is expressed with plastic means and not with literary ones. My ambition was to incorporate to Zurbarán's mystical realism the experimental creativeness of modern painting in my desire to make it classic.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: How does The Sacrament of the Last Supper explain its Background?

The Sacrament of the Last Supper was completed during Dalí's post-World War II period, which is characterized by his increased interest in science, optical illusion and religion. During this time he became a devout Roman Catholic and simultaneously was astonished by the "atomic age". Dalí himself labelled this era in his work "Nuclear Mysticism". He sought to combine traditional Christian iconography with images of disintegration. This is especially apparent in his piece The Madonna of Port Lligat, which was completed six years earlier.The painting was not commissioned. After purchasing the Crucifixion and then giving it to the Metropolitan Museum of Art, collector and banker Chester Dale told Dalí he "had to do one more religious picture". Dale believed that this picture was "too important to keep for a few" and so donated it to the National Gallery. In a paragraph in the National Gallery's curatorial file but missing from all published accounts, Dalí wrote of this picture:The first Holy Communion on Earth is conceived as a sacred rite of the greatest happiness for humanity. This rite is expressed with plastic means and not with literary ones. My ambition was to incorporate to Zurbarán's mystical realism the experimental creativeness of modern painting in my desire to make it classic.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: In The Sacrament of the Last Supper, how is the Background discussed?

The Sacrament of the Last Supper was completed during Dalí's post-World War II period, which is characterized by his increased interest in science, optical illusion and religion. During this time he became a devout Roman Catholic and simultaneously was astonished by the "atomic age". Dalí himself labelled this era in his work "Nuclear Mysticism". He sought to combine traditional Christian iconography with images of disintegration. This is especially apparent in his piece The Madonna of Port Lligat, which was completed six years earlier.The painting was not commissioned. After purchasing the Crucifixion and then giving it to the Metropolitan Museum of Art, collector and banker Chester Dale told Dalí he "had to do one more religious picture". Dale believed that this picture was "too important to keep for a few" and so donated it to the National Gallery. In a paragraph in the National Gallery's curatorial file but missing from all published accounts, Dalí wrote of this picture:The first Holy Communion on Earth is conceived as a sacred rite of the greatest happiness for humanity. This rite is expressed with plastic means and not with literary ones. My ambition was to incorporate to Zurbarán's mystical realism the experimental creativeness of modern painting in my desire to make it classic.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: Focus on The Sacrament of the Last Supper and explain the Description.

The Sacrament of the Last Supper depicts thirteen figures gathered around a table. Assuming this painting is in line with traditional symbolism the figures are Christ and his 12 Apostles. Christ is the central figure in the painting placed directly on the horizon line. Behind him on the intersection point of perspective rests the source of sunlight, making the Christ figure the focus of the painting. He points upward directing the viewer's attention to a dominating transparent torso with arms stretched outward spanning the width of the picture plane. The scene's setting is within a transparent dodecahedron or twelve-sided space as perceived in the pentagon-shaped windowpanes behind the table. In the background is a familiar landscape of Catalonia, which Dalí has included in his paintings numerous times, one example being his famous painting The Persistence of Memory.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: Explain the Description of this artwork, The Sacrament of the Last Supper.

The Sacrament of the Last Supper depicts thirteen figures gathered around a table. Assuming this painting is in line with traditional symbolism the figures are Christ and his 12 Apostles. Christ is the central figure in the painting placed directly on the horizon line. Behind him on the intersection point of perspective rests the source of sunlight, making the Christ figure the focus of the painting. He points upward directing the viewer's attention to a dominating transparent torso with arms stretched outward spanning the width of the picture plane. The scene's setting is within a transparent dodecahedron or twelve-sided space as perceived in the pentagon-shaped windowpanes behind the table. In the background is a familiar landscape of Catalonia, which Dalí has included in his paintings numerous times, one example being his famous painting The Persistence of Memory.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: How does The Sacrament of the Last Supper explain its Description?

The Sacrament of the Last Supper depicts thirteen figures gathered around a table. Assuming this painting is in line with traditional symbolism the figures are Christ and his 12 Apostles. Christ is the central figure in the painting placed directly on the horizon line. Behind him on the intersection point of perspective rests the source of sunlight, making the Christ figure the focus of the painting. He points upward directing the viewer's attention to a dominating transparent torso with arms stretched outward spanning the width of the picture plane. The scene's setting is within a transparent dodecahedron or twelve-sided space as perceived in the pentagon-shaped windowpanes behind the table. In the background is a familiar landscape of Catalonia, which Dalí has included in his paintings numerous times, one example being his famous painting The Persistence of Memory.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: In The Sacrament of the Last Supper, how is the Description discussed?

The Sacrament of the Last Supper depicts thirteen figures gathered around a table. Assuming this painting is in line with traditional symbolism the figures are Christ and his 12 Apostles. Christ is the central figure in the painting placed directly on the horizon line. Behind him on the intersection point of perspective rests the source of sunlight, making the Christ figure the focus of the painting. He points upward directing the viewer's attention to a dominating transparent torso with arms stretched outward spanning the width of the picture plane. The scene's setting is within a transparent dodecahedron or twelve-sided space as perceived in the pentagon-shaped windowpanes behind the table. In the background is a familiar landscape of Catalonia, which Dalí has included in his paintings numerous times, one example being his famous painting The Persistence of Memory.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: Focus on The Sacrament of the Last Supper and explain the Symbolism and interpretations.

The combination of a classic Christian theme with the jarring techniques of surrealism captures the eye, as Dalí was able to do repeatedly with such works as The Temptation of St. Anthony, Christ of Saint John of the Cross, Crucifixion (Corpus Hypercubus), Nuclear Cross, and The Ecumenical Council, among others. The dimensions of the painting are in the golden ratio, as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical".There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". Michael Anthony Novak, a Catholic theologian, presented a paper on the subject of this piece in 2005. He proposes that Dalí's intention was not simply to paint the event of the last supper. He later stated:Dalí's true intention, which he has masterfully accomplished on this canvas, is to remind us of what is occurring in every celebration of this mystery of bread and wine: that the worship here on Earth makes present the realities of worship in Heaven.Other critics, like Novak, say, by looking at the title, the focus is not placed on one evening two thousand years ago. The lack of individualization of the apostles, their lack of focus on Christ and the almost dematerialized Christ reach beyond the fact of the event. Some say because Christ points to himself and the floating torso above him it could possibly be that he is referring to himself as already ascended to heaven.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: Explain the Symbolism and interpretations of this artwork, The Sacrament of the Last Supper.

The combination of a classic Christian theme with the jarring techniques of surrealism captures the eye, as Dalí was able to do repeatedly with such works as The Temptation of St. Anthony, Christ of Saint John of the Cross, Crucifixion (Corpus Hypercubus), Nuclear Cross, and The Ecumenical Council, among others. The dimensions of the painting are in the golden ratio, as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical".There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". Michael Anthony Novak, a Catholic theologian, presented a paper on the subject of this piece in 2005. He proposes that Dalí's intention was not simply to paint the event of the last supper. He later stated:Dalí's true intention, which he has masterfully accomplished on this canvas, is to remind us of what is occurring in every celebration of this mystery of bread and wine: that the worship here on Earth makes present the realities of worship in Heaven.Other critics, like Novak, say, by looking at the title, the focus is not placed on one evening two thousand years ago. The lack of individualization of the apostles, their lack of focus on Christ and the almost dematerialized Christ reach beyond the fact of the event. Some say because Christ points to himself and the floating torso above him it could possibly be that he is referring to himself as already ascended to heaven.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: How does The Sacrament of the Last Supper explain its Symbolism and interpretations?

The combination of a classic Christian theme with the jarring techniques of surrealism captures the eye, as Dalí was able to do repeatedly with such works as The Temptation of St. Anthony, Christ of Saint John of the Cross, Crucifixion (Corpus Hypercubus), Nuclear Cross, and The Ecumenical Council, among others. The dimensions of the painting are in the golden ratio, as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical".There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". Michael Anthony Novak, a Catholic theologian, presented a paper on the subject of this piece in 2005. He proposes that Dalí's intention was not simply to paint the event of the last supper. He later stated:Dalí's true intention, which he has masterfully accomplished on this canvas, is to remind us of what is occurring in every celebration of this mystery of bread and wine: that the worship here on Earth makes present the realities of worship in Heaven.Other critics, like Novak, say, by looking at the title, the focus is not placed on one evening two thousand years ago. The lack of individualization of the apostles, their lack of focus on Christ and the almost dematerialized Christ reach beyond the fact of the event. Some say because Christ points to himself and the floating torso above him it could possibly be that he is referring to himself as already ascended to heaven.

Category:Paintings in the National Gallery of Art


The Sacrament of the Last Supper

Prompt: In The Sacrament of the Last Supper, how is the Symbolism and interpretations discussed?

The combination of a classic Christian theme with the jarring techniques of surrealism captures the eye, as Dalí was able to do repeatedly with such works as The Temptation of St. Anthony, Christ of Saint John of the Cross, Crucifixion (Corpus Hypercubus), Nuclear Cross, and The Ecumenical Council, among others. The dimensions of the painting are in the golden ratio, as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical".There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". Michael Anthony Novak, a Catholic theologian, presented a paper on the subject of this piece in 2005. He proposes that Dalí's intention was not simply to paint the event of the last supper. He later stated:Dalí's true intention, which he has masterfully accomplished on this canvas, is to remind us of what is occurring in every celebration of this mystery of bread and wine: that the worship here on Earth makes present the realities of worship in Heaven.Other critics, like Novak, say, by looking at the title, the focus is not placed on one evening two thousand years ago. The lack of individualization of the apostles, their lack of focus on Christ and the almost dematerialized Christ reach beyond the fact of the event. Some say because Christ points to himself and the floating torso above him it could possibly be that he is referring to himself as already ascended to heaven.

Category:Paintings in the National Gallery of Art


The Scapegoat (painting)

Prompt: Focus on The Scapegoat (painting) and explain the abstract.

The Scapegoat (1854–1856) is a painting by William Holman Hunt which depicts the "scapegoat" described in the Book of Leviticus. On the Day of Atonement, a goat would have its horns wrapped with a red cloth – representing the sins of the community – and be driven off.Hunt started painting on the shore of the Dead Sea, and continued it in his studio in London. The work exists in two versions, a small version in brighter colours with a dark-haired goat and a rainbow, in Manchester Art Gallery, and a larger version in more muted tones with a light-haired goat in the Lady Lever Art Gallery in Port Sunlight. Both were created over the same period, with the smaller Manchester version being described as "preliminary" to the larger Lady Lever version, which was the one exhibited.

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt

The Finding of the Saviour in the Temple


The Scapegoat (painting)

Prompt: Explain the abstract of this artwork, The Scapegoat (painting).

The Scapegoat (1854–1856) is a painting by William Holman Hunt which depicts the "scapegoat" described in the Book of Leviticus. On the Day of Atonement, a goat would have its horns wrapped with a red cloth – representing the sins of the community – and be driven off.Hunt started painting on the shore of the Dead Sea, and continued it in his studio in London. The work exists in two versions, a small version in brighter colours with a dark-haired goat and a rainbow, in Manchester Art Gallery, and a larger version in more muted tones with a light-haired goat in the Lady Lever Art Gallery in Port Sunlight. Both were created over the same period, with the smaller Manchester version being described as "preliminary" to the larger Lady Lever version, which was the one exhibited.

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt

The Finding of the Saviour in the Temple


The Scapegoat (painting)

Prompt: How does The Scapegoat (painting) explain its abstract?

The Scapegoat (1854–1856) is a painting by William Holman Hunt which depicts the "scapegoat" described in the Book of Leviticus. On the Day of Atonement, a goat would have its horns wrapped with a red cloth – representing the sins of the community – and be driven off.Hunt started painting on the shore of the Dead Sea, and continued it in his studio in London. The work exists in two versions, a small version in brighter colours with a dark-haired goat and a rainbow, in Manchester Art Gallery, and a larger version in more muted tones with a light-haired goat in the Lady Lever Art Gallery in Port Sunlight. Both were created over the same period, with the smaller Manchester version being described as "preliminary" to the larger Lady Lever version, which was the one exhibited.

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt

The Finding of the Saviour in the Temple


The Scapegoat (painting)

Prompt: In The Scapegoat (painting), how is the abstract discussed?

The Scapegoat (1854–1856) is a painting by William Holman Hunt which depicts the "scapegoat" described in the Book of Leviticus. On the Day of Atonement, a goat would have its horns wrapped with a red cloth – representing the sins of the community – and be driven off.Hunt started painting on the shore of the Dead Sea, and continued it in his studio in London. The work exists in two versions, a small version in brighter colours with a dark-haired goat and a rainbow, in Manchester Art Gallery, and a larger version in more muted tones with a light-haired goat in the Lady Lever Art Gallery in Port Sunlight. Both were created over the same period, with the smaller Manchester version being described as "preliminary" to the larger Lady Lever version, which was the one exhibited.

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt

The Finding of the Saviour in the Temple


The Scapegoat (painting)

Prompt: Focus on The Scapegoat (painting) and explain the History.

In the Royal Academy exhibition catalogue Hunt wrote that "the scene was painted at Sodom, on the margin of the salt-encrusted shallows of the Dead Sea. The mountains beyond are those of Edom." He painted most of the work on location in 1854, but completed the work in London in the following year, adding some touches in 1856 before its exhibition at the academy.The painting was the only major work completed by Hunt during his first trip to the Holy Land, to which he had travelled after a crisis of religious faith. Hunt intended to experience the actual locations of the Biblical narratives as a means to confront the relationship between faith and truth. While in Jerusalem, Hunt had met Henry Wentworth Monk, a millenarian prophet who had distinctive theories about the meaning of the scapegoat and the proximity of the Last Judgement. Monk was particularly preoccupied with Christian Zionism.Hunt chose a subject derived from the Torah as part of a project to convert Jews to Christianity. He believed that Judaic views of the scapegoat were consistent with the Christian conception of the Messiah as a suffering figure. He wrote to his friend Millais, "I am sanguine that [the Scapegoat] may be a means of leading any reflecting Jew to see a reference to the Messiah as he was, and not as they understand, a temporal King."The Book of Leviticus describes a "scapegoat" which must be ritually expelled from the flocks of the Israelite tribes as part of a sacrificial ritual of cleansing. In line with traditional Christian theology, Hunt believed that the scapegoat was a prototype for the redemptive sacrifice of Jesus, and that the goat represented that aspect of the Messiah described in Isaiah as a "suffering servant" of God. Hunt had the picture framed with the quotations "Surely he hath borne our Griefs and carried our Sorrows; Yet we did esteem him stricken, smitten of GOD and afflicted." (Isaiah 53:4) and "And the Goat shall bear upon him all their iniquities unto a Land not inhabited." (Leviticus 16:22)

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt

The Finding of the Saviour in the Temple


The Scapegoat (painting)

Prompt: Explain the History of this artwork, The Scapegoat (painting).

In the Royal Academy exhibition catalogue Hunt wrote that "the scene was painted at Sodom, on the margin of the salt-encrusted shallows of the Dead Sea. The mountains beyond are those of Edom." He painted most of the work on location in 1854, but completed the work in London in the following year, adding some touches in 1856 before its exhibition at the academy.The painting was the only major work completed by Hunt during his first trip to the Holy Land, to which he had travelled after a crisis of religious faith. Hunt intended to experience the actual locations of the Biblical narratives as a means to confront the relationship between faith and truth. While in Jerusalem, Hunt had met Henry Wentworth Monk, a millenarian prophet who had distinctive theories about the meaning of the scapegoat and the proximity of the Last Judgement. Monk was particularly preoccupied with Christian Zionism.Hunt chose a subject derived from the Torah as part of a project to convert Jews to Christianity. He believed that Judaic views of the scapegoat were consistent with the Christian conception of the Messiah as a suffering figure. He wrote to his friend Millais, "I am sanguine that [the Scapegoat] may be a means of leading any reflecting Jew to see a reference to the Messiah as he was, and not as they understand, a temporal King."The Book of Leviticus describes a "scapegoat" which must be ritually expelled from the flocks of the Israelite tribes as part of a sacrificial ritual of cleansing. In line with traditional Christian theology, Hunt believed that the scapegoat was a prototype for the redemptive sacrifice of Jesus, and that the goat represented that aspect of the Messiah described in Isaiah as a "suffering servant" of God. Hunt had the picture framed with the quotations "Surely he hath borne our Griefs and carried our Sorrows; Yet we did esteem him stricken, smitten of GOD and afflicted." (Isaiah 53:4) and "And the Goat shall bear upon him all their iniquities unto a Land not inhabited." (Leviticus 16:22)

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt

The Finding of the Saviour in the Temple


The Scapegoat (painting)

Prompt: How does The Scapegoat (painting) explain its History?

In the Royal Academy exhibition catalogue Hunt wrote that "the scene was painted at Sodom, on the margin of the salt-encrusted shallows of the Dead Sea. The mountains beyond are those of Edom." He painted most of the work on location in 1854, but completed the work in London in the following year, adding some touches in 1856 before its exhibition at the academy.The painting was the only major work completed by Hunt during his first trip to the Holy Land, to which he had travelled after a crisis of religious faith. Hunt intended to experience the actual locations of the Biblical narratives as a means to confront the relationship between faith and truth. While in Jerusalem, Hunt had met Henry Wentworth Monk, a millenarian prophet who had distinctive theories about the meaning of the scapegoat and the proximity of the Last Judgement. Monk was particularly preoccupied with Christian Zionism.Hunt chose a subject derived from the Torah as part of a project to convert Jews to Christianity. He believed that Judaic views of the scapegoat were consistent with the Christian conception of the Messiah as a suffering figure. He wrote to his friend Millais, "I am sanguine that [the Scapegoat] may be a means of leading any reflecting Jew to see a reference to the Messiah as he was, and not as they understand, a temporal King."The Book of Leviticus describes a "scapegoat" which must be ritually expelled from the flocks of the Israelite tribes as part of a sacrificial ritual of cleansing. In line with traditional Christian theology, Hunt believed that the scapegoat was a prototype for the redemptive sacrifice of Jesus, and that the goat represented that aspect of the Messiah described in Isaiah as a "suffering servant" of God. Hunt had the picture framed with the quotations "Surely he hath borne our Griefs and carried our Sorrows; Yet we did esteem him stricken, smitten of GOD and afflicted." (Isaiah 53:4) and "And the Goat shall bear upon him all their iniquities unto a Land not inhabited." (Leviticus 16:22)

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt

The Finding of the Saviour in the Temple


The Scapegoat (painting)

Prompt: In The Scapegoat (painting), how is the History discussed?

In the Royal Academy exhibition catalogue Hunt wrote that "the scene was painted at Sodom, on the margin of the salt-encrusted shallows of the Dead Sea. The mountains beyond are those of Edom." He painted most of the work on location in 1854, but completed the work in London in the following year, adding some touches in 1856 before its exhibition at the academy.The painting was the only major work completed by Hunt during his first trip to the Holy Land, to which he had travelled after a crisis of religious faith. Hunt intended to experience the actual locations of the Biblical narratives as a means to confront the relationship between faith and truth. While in Jerusalem, Hunt had met Henry Wentworth Monk, a millenarian prophet who had distinctive theories about the meaning of the scapegoat and the proximity of the Last Judgement. Monk was particularly preoccupied with Christian Zionism.Hunt chose a subject derived from the Torah as part of a project to convert Jews to Christianity. He believed that Judaic views of the scapegoat were consistent with the Christian conception of the Messiah as a suffering figure. He wrote to his friend Millais, "I am sanguine that [the Scapegoat] may be a means of leading any reflecting Jew to see a reference to the Messiah as he was, and not as they understand, a temporal King."The Book of Leviticus describes a "scapegoat" which must be ritually expelled from the flocks of the Israelite tribes as part of a sacrificial ritual of cleansing. In line with traditional Christian theology, Hunt believed that the scapegoat was a prototype for the redemptive sacrifice of Jesus, and that the goat represented that aspect of the Messiah described in Isaiah as a "suffering servant" of God. Hunt had the picture framed with the quotations "Surely he hath borne our Griefs and carried our Sorrows; Yet we did esteem him stricken, smitten of GOD and afflicted." (Isaiah 53:4) and "And the Goat shall bear upon him all their iniquities unto a Land not inhabited." (Leviticus 16:22)

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt

The Finding of the Saviour in the Temple


The Scapegoat (painting)

Prompt: Focus on The Scapegoat (painting) and explain the Critical reception.

The reaction to the painting was not as Hunt expected. In his autobiography Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, Hunt relates the first reaction to the painting by art dealer Ernest Gambart:Gambart, the picture-dealer, was ever shrewd and entertaining. He came in his turn to my studio, and I led him to The Scapegoat. "What do you call that?""The Scapegoat.""Yes; but what is it doing?""You will understand by the title, Le bouc expiatoire.""But why expiatoire?" he asked."Well, there is a book called the Bible, which gives an account of the animal. You will remember.""No," he replied, "I never heard of it.""Ah, I forgot, the book is not known in France, but English people read it more or less," I said, "and they would all understand the story of the beast being driven into the wilderness.""You are mistaken. No one would know anything about it, and if I bought the picture it would be left on my hands. Now, we will see," replied the dealer. "My wife is an English lady, there is a friend of hers, an English girl, in the carriage with her, we will ask them up, you shall tell them the title; we will see. Do not say more."The ladies were conducted into the room. "Oh how pretty! what is it?" they asked."It is The Scapegoat." I said.There was a pause. "Oh yes," they commented to one another, "it is a peculiar goat, you can see by the ears, they droop so."The dealer then, nodding with a smile towards me, said to them, "It is in the wilderness."The ladies: "Is that the wilderness now? Are you intending to introduce any others of the flock?" And so the dealer was proved to be right, and I had over-counted on the picture's intelligibility.Dante Gabriel Rossetti, in a letter to William Allingham in 1856, called the painting "a grand thing, but not for the public". Ford Madox Brown wrote in his diary: "Hunt's Scapegoat requires to be seen to be believed in. Only then can it be understood how, by the might of genius, out of an old goat, and some saline encrustations, can be made one of the most tragic and impressive works in the annals of art." Ernest Gambart, as related by Hunt, was less enthusiastic, and was later to remark: "I wanted a nice religious picture and he painted me a great goat."  The Art Journal in 1860, at the time of the exhibition of Hunt's later work The Finding of the Saviour in the Temple, was to characterise the painting as "having disappointed even his warmest admirers".At the time of the exhibition of The Scapegoat itself, in 1856, The Art Journal questioned Hunt's eye for colour in the painting, casting doubt that the mountains of Edom, seen in the background, really were in actual appearance as painted – which Matthew Dennison, writing in The Spectator in 2008 described the Manchester version as "Day-Glo striations of lilac, crimson and egg-yolk yellow". Dennison suggests the possibility that Hunt was painting the scene from memory, when he was finishing the painting in London after he had returned from his trip to the Dead Sea, and mis-remembered it. Evolutionary biologist W. D. Hamilton, who saw the painting as a boy and was deeply impressed by the "sci-fi book cover" intensity of it, wrote after visiting Israel that "now on the shores of the Dead Sea I knew that I saw exactly the background I had remembered...if anything more exceptional, more other-worldly, than the  painting had made them." Hunt's own description of the landscape that he painted is that "never was so extraordinary a scene of beautifully arranged horrible wilderness. It is black, full of asphalte scum and in the hand slimy, and smarting as a sting – No one can stand and say that it is not accursed of God." Art critic Peter Fuller, in 1989, described the landscape of the painting as "a terrible image [...] of the world as a god-forsaken wasteland, a heap of broken images where the sun beats".

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt


The Scapegoat (painting)

Prompt: Explain the Critical reception of this artwork, The Scapegoat (painting).

The reaction to the painting was not as Hunt expected. In his autobiography Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, Hunt relates the first reaction to the painting by art dealer Ernest Gambart:Gambart, the picture-dealer, was ever shrewd and entertaining. He came in his turn to my studio, and I led him to The Scapegoat. "What do you call that?""The Scapegoat.""Yes; but what is it doing?""You will understand by the title, Le bouc expiatoire.""But why expiatoire?" he asked."Well, there is a book called the Bible, which gives an account of the animal. You will remember.""No," he replied, "I never heard of it.""Ah, I forgot, the book is not known in France, but English people read it more or less," I said, "and they would all understand the story of the beast being driven into the wilderness.""You are mistaken. No one would know anything about it, and if I bought the picture it would be left on my hands. Now, we will see," replied the dealer. "My wife is an English lady, there is a friend of hers, an English girl, in the carriage with her, we will ask them up, you shall tell them the title; we will see. Do not say more."The ladies were conducted into the room. "Oh how pretty! what is it?" they asked."It is The Scapegoat." I said.There was a pause. "Oh yes," they commented to one another, "it is a peculiar goat, you can see by the ears, they droop so."The dealer then, nodding with a smile towards me, said to them, "It is in the wilderness."The ladies: "Is that the wilderness now? Are you intending to introduce any others of the flock?" And so the dealer was proved to be right, and I had over-counted on the picture's intelligibility.Dante Gabriel Rossetti, in a letter to William Allingham in 1856, called the painting "a grand thing, but not for the public". Ford Madox Brown wrote in his diary: "Hunt's Scapegoat requires to be seen to be believed in. Only then can it be understood how, by the might of genius, out of an old goat, and some saline encrustations, can be made one of the most tragic and impressive works in the annals of art." Ernest Gambart, as related by Hunt, was less enthusiastic, and was later to remark: "I wanted a nice religious picture and he painted me a great goat."  The Art Journal in 1860, at the time of the exhibition of Hunt's later work The Finding of the Saviour in the Temple, was to characterise the painting as "having disappointed even his warmest admirers".At the time of the exhibition of The Scapegoat itself, in 1856, The Art Journal questioned Hunt's eye for colour in the painting, casting doubt that the mountains of Edom, seen in the background, really were in actual appearance as painted – which Matthew Dennison, writing in The Spectator in 2008 described the Manchester version as "Day-Glo striations of lilac, crimson and egg-yolk yellow". Dennison suggests the possibility that Hunt was painting the scene from memory, when he was finishing the painting in London after he had returned from his trip to the Dead Sea, and mis-remembered it. Evolutionary biologist W. D. Hamilton, who saw the painting as a boy and was deeply impressed by the "sci-fi book cover" intensity of it, wrote after visiting Israel that "now on the shores of the Dead Sea I knew that I saw exactly the background I had remembered...if anything more exceptional, more other-worldly, than the  painting had made them." Hunt's own description of the landscape that he painted is that "never was so extraordinary a scene of beautifully arranged horrible wilderness. It is black, full of asphalte scum and in the hand slimy, and smarting as a sting – No one can stand and say that it is not accursed of God." Art critic Peter Fuller, in 1989, described the landscape of the painting as "a terrible image [...] of the world as a god-forsaken wasteland, a heap of broken images where the sun beats".

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt


The Scapegoat (painting)

Prompt: How does The Scapegoat (painting) explain its Critical reception?

The reaction to the painting was not as Hunt expected. In his autobiography Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, Hunt relates the first reaction to the painting by art dealer Ernest Gambart:Gambart, the picture-dealer, was ever shrewd and entertaining. He came in his turn to my studio, and I led him to The Scapegoat. "What do you call that?""The Scapegoat.""Yes; but what is it doing?""You will understand by the title, Le bouc expiatoire.""But why expiatoire?" he asked."Well, there is a book called the Bible, which gives an account of the animal. You will remember.""No," he replied, "I never heard of it.""Ah, I forgot, the book is not known in France, but English people read it more or less," I said, "and they would all understand the story of the beast being driven into the wilderness.""You are mistaken. No one would know anything about it, and if I bought the picture it would be left on my hands. Now, we will see," replied the dealer. "My wife is an English lady, there is a friend of hers, an English girl, in the carriage with her, we will ask them up, you shall tell them the title; we will see. Do not say more."The ladies were conducted into the room. "Oh how pretty! what is it?" they asked."It is The Scapegoat." I said.There was a pause. "Oh yes," they commented to one another, "it is a peculiar goat, you can see by the ears, they droop so."The dealer then, nodding with a smile towards me, said to them, "It is in the wilderness."The ladies: "Is that the wilderness now? Are you intending to introduce any others of the flock?" And so the dealer was proved to be right, and I had over-counted on the picture's intelligibility.Dante Gabriel Rossetti, in a letter to William Allingham in 1856, called the painting "a grand thing, but not for the public". Ford Madox Brown wrote in his diary: "Hunt's Scapegoat requires to be seen to be believed in. Only then can it be understood how, by the might of genius, out of an old goat, and some saline encrustations, can be made one of the most tragic and impressive works in the annals of art." Ernest Gambart, as related by Hunt, was less enthusiastic, and was later to remark: "I wanted a nice religious picture and he painted me a great goat."  The Art Journal in 1860, at the time of the exhibition of Hunt's later work The Finding of the Saviour in the Temple, was to characterise the painting as "having disappointed even his warmest admirers".At the time of the exhibition of The Scapegoat itself, in 1856, The Art Journal questioned Hunt's eye for colour in the painting, casting doubt that the mountains of Edom, seen in the background, really were in actual appearance as painted – which Matthew Dennison, writing in The Spectator in 2008 described the Manchester version as "Day-Glo striations of lilac, crimson and egg-yolk yellow". Dennison suggests the possibility that Hunt was painting the scene from memory, when he was finishing the painting in London after he had returned from his trip to the Dead Sea, and mis-remembered it. Evolutionary biologist W. D. Hamilton, who saw the painting as a boy and was deeply impressed by the "sci-fi book cover" intensity of it, wrote after visiting Israel that "now on the shores of the Dead Sea I knew that I saw exactly the background I had remembered...if anything more exceptional, more other-worldly, than the  painting had made them." Hunt's own description of the landscape that he painted is that "never was so extraordinary a scene of beautifully arranged horrible wilderness. It is black, full of asphalte scum and in the hand slimy, and smarting as a sting – No one can stand and say that it is not accursed of God." Art critic Peter Fuller, in 1989, described the landscape of the painting as "a terrible image [...] of the world as a god-forsaken wasteland, a heap of broken images where the sun beats".

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt


The Scapegoat (painting)

Prompt: In The Scapegoat (painting), how is the Critical reception discussed?

The reaction to the painting was not as Hunt expected. In his autobiography Pre-Raphaelitism and the Pre-Raphaelite Brotherhood, Hunt relates the first reaction to the painting by art dealer Ernest Gambart:Gambart, the picture-dealer, was ever shrewd and entertaining. He came in his turn to my studio, and I led him to The Scapegoat. "What do you call that?""The Scapegoat.""Yes; but what is it doing?""You will understand by the title, Le bouc expiatoire.""But why expiatoire?" he asked."Well, there is a book called the Bible, which gives an account of the animal. You will remember.""No," he replied, "I never heard of it.""Ah, I forgot, the book is not known in France, but English people read it more or less," I said, "and they would all understand the story of the beast being driven into the wilderness.""You are mistaken. No one would know anything about it, and if I bought the picture it would be left on my hands. Now, we will see," replied the dealer. "My wife is an English lady, there is a friend of hers, an English girl, in the carriage with her, we will ask them up, you shall tell them the title; we will see. Do not say more."The ladies were conducted into the room. "Oh how pretty! what is it?" they asked."It is The Scapegoat." I said.There was a pause. "Oh yes," they commented to one another, "it is a peculiar goat, you can see by the ears, they droop so."The dealer then, nodding with a smile towards me, said to them, "It is in the wilderness."The ladies: "Is that the wilderness now? Are you intending to introduce any others of the flock?" And so the dealer was proved to be right, and I had over-counted on the picture's intelligibility.Dante Gabriel Rossetti, in a letter to William Allingham in 1856, called the painting "a grand thing, but not for the public". Ford Madox Brown wrote in his diary: "Hunt's Scapegoat requires to be seen to be believed in. Only then can it be understood how, by the might of genius, out of an old goat, and some saline encrustations, can be made one of the most tragic and impressive works in the annals of art." Ernest Gambart, as related by Hunt, was less enthusiastic, and was later to remark: "I wanted a nice religious picture and he painted me a great goat."  The Art Journal in 1860, at the time of the exhibition of Hunt's later work The Finding of the Saviour in the Temple, was to characterise the painting as "having disappointed even his warmest admirers".At the time of the exhibition of The Scapegoat itself, in 1856, The Art Journal questioned Hunt's eye for colour in the painting, casting doubt that the mountains of Edom, seen in the background, really were in actual appearance as painted – which Matthew Dennison, writing in The Spectator in 2008 described the Manchester version as "Day-Glo striations of lilac, crimson and egg-yolk yellow". Dennison suggests the possibility that Hunt was painting the scene from memory, when he was finishing the painting in London after he had returned from his trip to the Dead Sea, and mis-remembered it. Evolutionary biologist W. D. Hamilton, who saw the painting as a boy and was deeply impressed by the "sci-fi book cover" intensity of it, wrote after visiting Israel that "now on the shores of the Dead Sea I knew that I saw exactly the background I had remembered...if anything more exceptional, more other-worldly, than the  painting had made them." Hunt's own description of the landscape that he painted is that "never was so extraordinary a scene of beautifully arranged horrible wilderness. It is black, full of asphalte scum and in the hand slimy, and smarting as a sting – No one can stand and say that it is not accursed of God." Art critic Peter Fuller, in 1989, described the landscape of the painting as "a terrible image [...] of the world as a god-forsaken wasteland, a heap of broken images where the sun beats".

Category:Paintings based on the Hebrew Bible

Category:Collection of the Lady Lever Art Gallery

Category:Collection of Manchester Art Gallery

Category:Paintings by William Holman Hunt


The Problem We All Live With

Prompt: Focus on The Problem We All Live With and explain the abstract.

The Problem We All Live With  is a 1964 painting by Norman Rockwell that is considered an iconic image of the Civil Rights Movement in the United States. It depicts Ruby Bridges, a six-year-old African-American girl, on her way to William Frantz Elementary School, an all-white public school, on November 14, 1960, during the New Orleans school desegregation crisis. Because of threats of violence against her, she is escorted by four deputy U.S. marshals; the painting is framed so that the marshals' heads are cropped at the shoulders, making Bridges the only person fully visible. On the wall behind her are written the racial slur "nigger" and the letters "KKK"; a smashed and splattered tomato thrown against the wall is also visible. The white protesters are not visible, as the viewer is looking at the scene from their point of view. The painting is oil on canvas and measures 36 inches (91 cm) high by 58 inches (150 cm) wide.

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

Southern Justice (Murder in Mississippi)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: Explain the abstract of this artwork, The Problem We All Live With.

The Problem We All Live With  is a 1964 painting by Norman Rockwell that is considered an iconic image of the Civil Rights Movement in the United States. It depicts Ruby Bridges, a six-year-old African-American girl, on her way to William Frantz Elementary School, an all-white public school, on November 14, 1960, during the New Orleans school desegregation crisis. Because of threats of violence against her, she is escorted by four deputy U.S. marshals; the painting is framed so that the marshals' heads are cropped at the shoulders, making Bridges the only person fully visible. On the wall behind her are written the racial slur "nigger" and the letters "KKK"; a smashed and splattered tomato thrown against the wall is also visible. The white protesters are not visible, as the viewer is looking at the scene from their point of view. The painting is oil on canvas and measures 36 inches (91 cm) high by 58 inches (150 cm) wide.

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

Southern Justice (Murder in Mississippi)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: How does The Problem We All Live With explain its abstract?

The Problem We All Live With  is a 1964 painting by Norman Rockwell that is considered an iconic image of the Civil Rights Movement in the United States. It depicts Ruby Bridges, a six-year-old African-American girl, on her way to William Frantz Elementary School, an all-white public school, on November 14, 1960, during the New Orleans school desegregation crisis. Because of threats of violence against her, she is escorted by four deputy U.S. marshals; the painting is framed so that the marshals' heads are cropped at the shoulders, making Bridges the only person fully visible. On the wall behind her are written the racial slur "nigger" and the letters "KKK"; a smashed and splattered tomato thrown against the wall is also visible. The white protesters are not visible, as the viewer is looking at the scene from their point of view. The painting is oil on canvas and measures 36 inches (91 cm) high by 58 inches (150 cm) wide.

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

Southern Justice (Murder in Mississippi)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: In The Problem We All Live With, how is the abstract discussed?

The Problem We All Live With  is a 1964 painting by Norman Rockwell that is considered an iconic image of the Civil Rights Movement in the United States. It depicts Ruby Bridges, a six-year-old African-American girl, on her way to William Frantz Elementary School, an all-white public school, on November 14, 1960, during the New Orleans school desegregation crisis. Because of threats of violence against her, she is escorted by four deputy U.S. marshals; the painting is framed so that the marshals' heads are cropped at the shoulders, making Bridges the only person fully visible. On the wall behind her are written the racial slur "nigger" and the letters "KKK"; a smashed and splattered tomato thrown against the wall is also visible. The white protesters are not visible, as the viewer is looking at the scene from their point of view. The painting is oil on canvas and measures 36 inches (91 cm) high by 58 inches (150 cm) wide.

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

Southern Justice (Murder in Mississippi)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: Focus on The Problem We All Live With and explain the History.

The painting was originally published as a centerfold in the January 14, 1964, issue of Look.  Rockwell had ended his contract with the Saturday Evening Post the previous year due to frustration with the limits the magazine placed on his expression of political themes, and Look offered him a forum for his social interests, including civil rights and racial integration. Rockwell explored similar themes in Southern Justice (Murder in Mississippi) and New Kids in the Neighborhood; unlike his previous works for the Post, The Problem We All Live With and these others place black people as sole protagonists, instead of as observers, part of group scenes, or in servile roles. Like New Kids in the Neighborhood, The Problem We All Live With depicts a black child protagonist; like Southern Justice, it uses strong light-dark contrasts to further its racial theme.While the subject of the painting was inspired by Ruby Bridges, Rockwell used a local girl, Lynda Gunn, as the model for his painting; her cousin, Anita Gunn, was also used. One of the marshals was modelled by William Obanhein.After the work was published, Rockwell received "sacks of disapproving mail", one example accusing him of being a race traitor.

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: Explain the History of this artwork, The Problem We All Live With.

The painting was originally published as a centerfold in the January 14, 1964, issue of Look.  Rockwell had ended his contract with the Saturday Evening Post the previous year due to frustration with the limits the magazine placed on his expression of political themes, and Look offered him a forum for his social interests, including civil rights and racial integration. Rockwell explored similar themes in Southern Justice (Murder in Mississippi) and New Kids in the Neighborhood; unlike his previous works for the Post, The Problem We All Live With and these others place black people as sole protagonists, instead of as observers, part of group scenes, or in servile roles. Like New Kids in the Neighborhood, The Problem We All Live With depicts a black child protagonist; like Southern Justice, it uses strong light-dark contrasts to further its racial theme.While the subject of the painting was inspired by Ruby Bridges, Rockwell used a local girl, Lynda Gunn, as the model for his painting; her cousin, Anita Gunn, was also used. One of the marshals was modelled by William Obanhein.After the work was published, Rockwell received "sacks of disapproving mail", one example accusing him of being a race traitor.

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: How does The Problem We All Live With explain its History?

The painting was originally published as a centerfold in the January 14, 1964, issue of Look.  Rockwell had ended his contract with the Saturday Evening Post the previous year due to frustration with the limits the magazine placed on his expression of political themes, and Look offered him a forum for his social interests, including civil rights and racial integration. Rockwell explored similar themes in Southern Justice (Murder in Mississippi) and New Kids in the Neighborhood; unlike his previous works for the Post, The Problem We All Live With and these others place black people as sole protagonists, instead of as observers, part of group scenes, or in servile roles. Like New Kids in the Neighborhood, The Problem We All Live With depicts a black child protagonist; like Southern Justice, it uses strong light-dark contrasts to further its racial theme.While the subject of the painting was inspired by Ruby Bridges, Rockwell used a local girl, Lynda Gunn, as the model for his painting; her cousin, Anita Gunn, was also used. One of the marshals was modelled by William Obanhein.After the work was published, Rockwell received "sacks of disapproving mail", one example accusing him of being a race traitor.

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: In The Problem We All Live With, how is the History discussed?

The painting was originally published as a centerfold in the January 14, 1964, issue of Look.  Rockwell had ended his contract with the Saturday Evening Post the previous year due to frustration with the limits the magazine placed on his expression of political themes, and Look offered him a forum for his social interests, including civil rights and racial integration. Rockwell explored similar themes in Southern Justice (Murder in Mississippi) and New Kids in the Neighborhood; unlike his previous works for the Post, The Problem We All Live With and these others place black people as sole protagonists, instead of as observers, part of group scenes, or in servile roles. Like New Kids in the Neighborhood, The Problem We All Live With depicts a black child protagonist; like Southern Justice, it uses strong light-dark contrasts to further its racial theme.While the subject of the painting was inspired by Ruby Bridges, Rockwell used a local girl, Lynda Gunn, as the model for his painting; her cousin, Anita Gunn, was also used. One of the marshals was modelled by William Obanhein.After the work was published, Rockwell received "sacks of disapproving mail", one example accusing him of being a race traitor.

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: Focus on The Problem We All Live With and explain the Legacy.

At Bridges' suggestion, President Barack Obama had the painting installed in the White House, in a hallway outside the Oval Office, from July to October 2011. Art historian William Kloss stated, "The N-word there – it sure stops you. There's a realistic reason for having the graffiti as a slur, [but] it's also right in the middle of the painting. It's a painting that could not be hung even for a brief time in the public spaces [of the White House]. I'm pretty sure of that." Bridges and Obama viewed the painting together on July 15, 2011, and he told her, "I think it's fair to say that if it hadn't been for you guys, I might not be here and we wouldn't be looking at this together."A copy of the painting was used to "dress" O. J. Simpson's house during his 1995 murder trial by defense attorney Johnnie Cochran. Cochran hoped to evoke the sympathy of visiting jurors, who were mostly black, by including "something depicting African-American history."

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

Southern Justice (Murder in Mississippi)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: Explain the Legacy of this artwork, The Problem We All Live With.

At Bridges' suggestion, President Barack Obama had the painting installed in the White House, in a hallway outside the Oval Office, from July to October 2011. Art historian William Kloss stated, "The N-word there – it sure stops you. There's a realistic reason for having the graffiti as a slur, [but] it's also right in the middle of the painting. It's a painting that could not be hung even for a brief time in the public spaces [of the White House]. I'm pretty sure of that." Bridges and Obama viewed the painting together on July 15, 2011, and he told her, "I think it's fair to say that if it hadn't been for you guys, I might not be here and we wouldn't be looking at this together."A copy of the painting was used to "dress" O. J. Simpson's house during his 1995 murder trial by defense attorney Johnnie Cochran. Cochran hoped to evoke the sympathy of visiting jurors, who were mostly black, by including "something depicting African-American history."

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

Southern Justice (Murder in Mississippi)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: How does The Problem We All Live With explain its Legacy?

At Bridges' suggestion, President Barack Obama had the painting installed in the White House, in a hallway outside the Oval Office, from July to October 2011. Art historian William Kloss stated, "The N-word there – it sure stops you. There's a realistic reason for having the graffiti as a slur, [but] it's also right in the middle of the painting. It's a painting that could not be hung even for a brief time in the public spaces [of the White House]. I'm pretty sure of that." Bridges and Obama viewed the painting together on July 15, 2011, and he told her, "I think it's fair to say that if it hadn't been for you guys, I might not be here and we wouldn't be looking at this together."A copy of the painting was used to "dress" O. J. Simpson's house during his 1995 murder trial by defense attorney Johnnie Cochran. Cochran hoped to evoke the sympathy of visiting jurors, who were mostly black, by including "something depicting African-American history."

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

Southern Justice (Murder in Mississippi)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


The Problem We All Live With

Prompt: In The Problem We All Live With, how is the Legacy discussed?

At Bridges' suggestion, President Barack Obama had the painting installed in the White House, in a hallway outside the Oval Office, from July to October 2011. Art historian William Kloss stated, "The N-word there – it sure stops you. There's a realistic reason for having the graffiti as a slur, [but] it's also right in the middle of the painting. It's a painting that could not be hung even for a brief time in the public spaces [of the White House]. I'm pretty sure of that." Bridges and Obama viewed the painting together on July 15, 2011, and he told her, "I think it's fair to say that if it hadn't been for you guys, I might not be here and we wouldn't be looking at this together."A copy of the painting was used to "dress" O. J. Simpson's house during his 1995 murder trial by defense attorney Johnnie Cochran. Cochran hoped to evoke the sympathy of visiting jurors, who were mostly black, by including "something depicting African-American history."

Desegregated public schools in New Orleans

Category:School segregation in the United States

Category:Civil rights movement in popular culture

Category:Works originally published in Look (American magazine)

Southern Justice (Murder in Mississippi)

File:US Marshals with Young Ruby Bridges on School Steps.jpg


Benois Madonna

Prompt: Focus on Benois Madonna and explain the abstract.

The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: Explain the abstract of this artwork, Benois Madonna.

The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: How does Benois Madonna explain its abstract?

The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: In Benois Madonna, how is the abstract discussed?

The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed c. 1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: Focus on Benois Madonna and explain the History.

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur Aleksei Ivanovich Korsakov (1751–1821) in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov (1827–1887). Finally, when his daughter Maria Sapozhnikova (1858–1938) married the architect Leon Benois (1856–1928), the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:One unhappy day I was called to see the 'Benois Madonna'. I found myself confronted by a young woman with a bald forehead and puffed cheeks, a toothless smile, blear eyes, and a furrowed throat. The uncanny, anile apparition plays with a child who looks like a hollow mask fixed on inflated body and limbs. The hands are wretched, the folds purposeless and fussy, the color like whey. And yet I had to acknowledge that this painful affair was the work of Leonardo da Vinci. It was hard, but the effort freed me, and the indignation I felt gave me the resolution to proclaim my freedom.Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: Explain the History of this artwork, Benois Madonna.

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur Aleksei Ivanovich Korsakov (1751–1821) in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov (1827–1887). Finally, when his daughter Maria Sapozhnikova (1858–1938) married the architect Leon Benois (1856–1928), the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:One unhappy day I was called to see the 'Benois Madonna'. I found myself confronted by a young woman with a bald forehead and puffed cheeks, a toothless smile, blear eyes, and a furrowed throat. The uncanny, anile apparition plays with a child who looks like a hollow mask fixed on inflated body and limbs. The hands are wretched, the folds purposeless and fussy, the color like whey. And yet I had to acknowledge that this painful affair was the work of Leonardo da Vinci. It was hard, but the effort freed me, and the indignation I felt gave me the resolution to proclaim my freedom.Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: How does Benois Madonna explain its History?

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur Aleksei Ivanovich Korsakov (1751–1821) in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov (1827–1887). Finally, when his daughter Maria Sapozhnikova (1858–1938) married the architect Leon Benois (1856–1928), the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:One unhappy day I was called to see the 'Benois Madonna'. I found myself confronted by a young woman with a bald forehead and puffed cheeks, a toothless smile, blear eyes, and a furrowed throat. The uncanny, anile apparition plays with a child who looks like a hollow mask fixed on inflated body and limbs. The hands are wretched, the folds purposeless and fussy, the color like whey. And yet I had to acknowledge that this painful affair was the work of Leonardo da Vinci. It was hard, but the effort freed me, and the indignation I felt gave me the resolution to proclaim my freedom.Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: In Benois Madonna, how is the History discussed?

It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur Aleksei Ivanovich Korsakov (1751–1821) in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov (1827–1887). Finally, when his daughter Maria Sapozhnikova (1858–1938) married the architect Leon Benois (1856–1928), the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:One unhappy day I was called to see the 'Benois Madonna'. I found myself confronted by a young woman with a bald forehead and puffed cheeks, a toothless smile, blear eyes, and a furrowed throat. The uncanny, anile apparition plays with a child who looks like a hollow mask fixed on inflated body and limbs. The hands are wretched, the folds purposeless and fussy, the color like whey. And yet I had to acknowledge that this painful affair was the work of Leonardo da Vinci. It was hard, but the effort freed me, and the indignation I felt gave me the resolution to proclaim my freedom.Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: Focus on Benois Madonna and explain the Description and interpretation.

This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.In Renaissance Florence, artistic portrayals of the Madonna often used Christian symbolism to suggest foreknowledge of the Crucifixion — for example, the goldfinch plucking Christ’s thorns from his crown. For the Benois Madonna, the symbol is a flowering sprig, in the form of a crucifix, held by the Virgin. As Feinberg (2011) suggests, in the Benois Madonna Leonardo attempted to rationalize between the mysteries of 'sight' and 'insight': "The child of the Benois Madonna has still not responded to the distinctly cruciform shape of the flower [...] because he cannot see it clearly. Once that happens, the child's hazy curiosity could [...] lead to foresight of his sacrifice". Notwithstanding its solemn motif, the painting represents one of the "most joyous and youthful depiction of Mary in Renaissance art ... she seems to be speaking or laughing, playfully engaged with her child, her radiant vitality accentuated through Leonardo’s deliberate complications of posture and drapery".

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: Explain the Description and interpretation of this artwork, Benois Madonna.

This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.In Renaissance Florence, artistic portrayals of the Madonna often used Christian symbolism to suggest foreknowledge of the Crucifixion — for example, the goldfinch plucking Christ’s thorns from his crown. For the Benois Madonna, the symbol is a flowering sprig, in the form of a crucifix, held by the Virgin. As Feinberg (2011) suggests, in the Benois Madonna Leonardo attempted to rationalize between the mysteries of 'sight' and 'insight': "The child of the Benois Madonna has still not responded to the distinctly cruciform shape of the flower [...] because he cannot see it clearly. Once that happens, the child's hazy curiosity could [...] lead to foresight of his sacrifice". Notwithstanding its solemn motif, the painting represents one of the "most joyous and youthful depiction of Mary in Renaissance art ... she seems to be speaking or laughing, playfully engaged with her child, her radiant vitality accentuated through Leonardo’s deliberate complications of posture and drapery".

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: How does Benois Madonna explain its Description and interpretation?

This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.In Renaissance Florence, artistic portrayals of the Madonna often used Christian symbolism to suggest foreknowledge of the Crucifixion — for example, the goldfinch plucking Christ’s thorns from his crown. For the Benois Madonna, the symbol is a flowering sprig, in the form of a crucifix, held by the Virgin. As Feinberg (2011) suggests, in the Benois Madonna Leonardo attempted to rationalize between the mysteries of 'sight' and 'insight': "The child of the Benois Madonna has still not responded to the distinctly cruciform shape of the flower [...] because he cannot see it clearly. Once that happens, the child's hazy curiosity could [...] lead to foresight of his sacrifice". Notwithstanding its solemn motif, the painting represents one of the "most joyous and youthful depiction of Mary in Renaissance art ... she seems to be speaking or laughing, playfully engaged with her child, her radiant vitality accentuated through Leonardo’s deliberate complications of posture and drapery".

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Benois Madonna

Prompt: In Benois Madonna, how is the Description and interpretation discussed?

This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.In Renaissance Florence, artistic portrayals of the Madonna often used Christian symbolism to suggest foreknowledge of the Crucifixion — for example, the goldfinch plucking Christ’s thorns from his crown. For the Benois Madonna, the symbol is a flowering sprig, in the form of a crucifix, held by the Virgin. As Feinberg (2011) suggests, in the Benois Madonna Leonardo attempted to rationalize between the mysteries of 'sight' and 'insight': "The child of the Benois Madonna has still not responded to the distinctly cruciform shape of the flower [...] because he cannot see it clearly. Once that happens, the child's hazy curiosity could [...] lead to foresight of his sacrifice". Notwithstanding its solemn motif, the painting represents one of the "most joyous and youthful depiction of Mary in Renaissance art ... she seems to be speaking or laughing, playfully engaged with her child, her radiant vitality accentuated through Leonardo’s deliberate complications of posture and drapery".

Category:Paintings in the Hermitage Museum

A. I. Korsakov, 1808, by [[Orest Kiprensky

A. A. Sapozhnikov, 1852, by [[Vasily Tropinin

File:British Museum Leonardo study for Virgin and Child.jpg

Category:Paintings of the Madonna and Child by Leonardo da Vinci


Death and the Miser

Prompt: Focus on Death and the Miser and explain the abstract.

Death and the Miser (also known as Death of the Usurer) is a Northern Renaissance painting produced between 1490 and 1516 by the Dutch artist Hieronymus Bosch.  The piece was originally part of a triptych, but the center piece is missing.  It is a memento mori painting, which is meant to remind the viewer of the inevitability of death and the futility of the pursuit of material wealth, illustrating the sin of greed.There is still debate about the exact symbolism of the man and the objects in the foreground.  Bosch was influenced by the Ars moriendi, religious texts that instructed Christians how to live and die.  It is now in the National Gallery of Art in Washington, D.C.It measures 93 x 31 cm (36 5/8 x 12 3/16 in) overall, and as framed 105.9 x 43.5 x 5.4 cm (41 11/16 x 17 1/8 x 2 1/8 in).

''Death of the Sinner'' from [[The Seven Deadly Sins and the Four Last Things

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

infrared reflectogram showing the miser with money bag and goblet

File:Bona inspiratio angeli contra avariciam, c. 1450.jpg

File:Jheronimus Bosch 4 last things (death).jpg

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)

File:Jheronimus Boch 050 infrared reflectogram 02.jpg

Category:Paintings in the National Gallery of Art

"Bona inspiratio angeli contra avariciam,", Cologne, woodcut from ''Ars moriendi,'' chapter 10, c. 1450.


Death and the Miser

Prompt: Explain the abstract of this artwork, Death and the Miser.

Death and the Miser (also known as Death of the Usurer) is a Northern Renaissance painting produced between 1490 and 1516 by the Dutch artist Hieronymus Bosch.  The piece was originally part of a triptych, but the center piece is missing.  It is a memento mori painting, which is meant to remind the viewer of the inevitability of death and the futility of the pursuit of material wealth, illustrating the sin of greed.There is still debate about the exact symbolism of the man and the objects in the foreground.  Bosch was influenced by the Ars moriendi, religious texts that instructed Christians how to live and die.  It is now in the National Gallery of Art in Washington, D.C.It measures 93 x 31 cm (36 5/8 x 12 3/16 in) overall, and as framed 105.9 x 43.5 x 5.4 cm (41 11/16 x 17 1/8 x 2 1/8 in).

''Death of the Sinner'' from [[The Seven Deadly Sins and the Four Last Things

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

infrared reflectogram showing the miser with money bag and goblet

File:Bona inspiratio angeli contra avariciam, c. 1450.jpg

File:Jheronimus Bosch 4 last things (death).jpg

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)

File:Jheronimus Boch 050 infrared reflectogram 02.jpg

Category:Paintings in the National Gallery of Art

"Bona inspiratio angeli contra avariciam,", Cologne, woodcut from ''Ars moriendi,'' chapter 10, c. 1450.