Prompt: Explain the Composition about the Analysis of this artwork, The Virgin and Child with Saint Anne (cartoon).

The composition of Fra Pietro's cartoon is deduced from the indications given by Pietro Novellara. But it is also deduced from the two paintings by the Brescianino brothers: it should be borne in mind that the idea that these works perfectly reflect Leonardo da Vinci's original composition remains a hypothesis.With the exception of the arrangement of the figures to the left, the composition is very similar to that of the painting in the Louvre – which may have led to the two works being confused in the past: Mary is seated on St. Anne's lap and, in line with their gaze, the Child Jesus stands at their feet. Together, they form a diagonal construction descending to the left in a right-angled triangle, the hypotenuse of which passes through the heads of the four protagonists (including the lamb). The composition of Fra Pietro's cartoon thus differs from the previous proposal – the Burlington House Cartoon – by abandoning the horizontal construction: it thus constitutes a return to a hierarchical vision of the theme, with Saint Anne overlooking her daughter, herself situated above Jesus. Moreover, Daniel Arasse considers that the painter is correcting the "unfinished" composition of the previous cartoon, where "the two female figures [were] not clearly articulated" and where "Saint Anne [only] occupied a very secondary place plastically": the new cartoon would thus allow the figure of Saint Anne to be emphasized thanks to the vertical scheme.Finally, the arrangement of the figures is such that the posture and gestures of each one seem to continue those of the previous one, as when a movement is decomposed: "Saint Anne's left shoulder continues into the Virgin's left arm, which itself finds continuity in Christ's forearm." This dynamic arrangement is not new, since Leonardo da Vinci found it in Filippino Lippi's Adoration of the Magi; but the scene thus acquires its own kinematics, induced by the movement created, and sustained by the slight rotational effect of the whole "initiated by the position of the bodies, slightly out of alignment with each other."

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: In The Virgin and Child with Saint Anne (cartoon), how is the Composition of the Analysis explained?

The composition of Fra Pietro's cartoon is deduced from the indications given by Pietro Novellara. But it is also deduced from the two paintings by the Brescianino brothers: it should be borne in mind that the idea that these works perfectly reflect Leonardo da Vinci's original composition remains a hypothesis.With the exception of the arrangement of the figures to the left, the composition is very similar to that of the painting in the Louvre – which may have led to the two works being confused in the past: Mary is seated on St. Anne's lap and, in line with their gaze, the Child Jesus stands at their feet. Together, they form a diagonal construction descending to the left in a right-angled triangle, the hypotenuse of which passes through the heads of the four protagonists (including the lamb). The composition of Fra Pietro's cartoon thus differs from the previous proposal – the Burlington House Cartoon – by abandoning the horizontal construction: it thus constitutes a return to a hierarchical vision of the theme, with Saint Anne overlooking her daughter, herself situated above Jesus. Moreover, Daniel Arasse considers that the painter is correcting the "unfinished" composition of the previous cartoon, where "the two female figures [were] not clearly articulated" and where "Saint Anne [only] occupied a very secondary place plastically": the new cartoon would thus allow the figure of Saint Anne to be emphasized thanks to the vertical scheme.Finally, the arrangement of the figures is such that the posture and gestures of each one seem to continue those of the previous one, as when a movement is decomposed: "Saint Anne's left shoulder continues into the Virgin's left arm, which itself finds continuity in Christ's forearm." This dynamic arrangement is not new, since Leonardo da Vinci found it in Filippino Lippi's Adoration of the Magi; but the scene thus acquires its own kinematics, induced by the movement created, and sustained by the slight rotational effect of the whole "initiated by the position of the bodies, slightly out of alignment with each other."

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: Describe the characteristics of the Composition in The Virgin and Child with Saint Anne (cartoon)'s Analysis.

The composition of Fra Pietro's cartoon is deduced from the indications given by Pietro Novellara. But it is also deduced from the two paintings by the Brescianino brothers: it should be borne in mind that the idea that these works perfectly reflect Leonardo da Vinci's original composition remains a hypothesis.With the exception of the arrangement of the figures to the left, the composition is very similar to that of the painting in the Louvre – which may have led to the two works being confused in the past: Mary is seated on St. Anne's lap and, in line with their gaze, the Child Jesus stands at their feet. Together, they form a diagonal construction descending to the left in a right-angled triangle, the hypotenuse of which passes through the heads of the four protagonists (including the lamb). The composition of Fra Pietro's cartoon thus differs from the previous proposal – the Burlington House Cartoon – by abandoning the horizontal construction: it thus constitutes a return to a hierarchical vision of the theme, with Saint Anne overlooking her daughter, herself situated above Jesus. Moreover, Daniel Arasse considers that the painter is correcting the "unfinished" composition of the previous cartoon, where "the two female figures [were] not clearly articulated" and where "Saint Anne [only] occupied a very secondary place plastically": the new cartoon would thus allow the figure of Saint Anne to be emphasized thanks to the vertical scheme.Finally, the arrangement of the figures is such that the posture and gestures of each one seem to continue those of the previous one, as when a movement is decomposed: "Saint Anne's left shoulder continues into the Virgin's left arm, which itself finds continuity in Christ's forearm." This dynamic arrangement is not new, since Leonardo da Vinci found it in Filippino Lippi's Adoration of the Magi; but the scene thus acquires its own kinematics, induced by the movement created, and sustained by the slight rotational effect of the whole "initiated by the position of the bodies, slightly out of alignment with each other."

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: In the context of The Virgin and Child with Saint Anne (cartoon), explain the From Saint John the Baptist to the Lamb and the Analysis.

When it came to composing his new cartoon, Leonardo da Vinci decided to change a number of elements, and in particular to abandon the figure of Saint John the Baptist as a child for a lamb. Researchers don't know the reasons for such a change: was it the commissioner's wish, or did he seek a better composition?Here, Leonardo da Vinci is proposing a realistic representation of the animal rather than the heraldic representation often used in Italian Renaissance art, where it appears within a disc or resting on a book. The lamb is one of the attributes of Saint John the Baptist in Western art, in reference to his welcoming of Jesus with the words: "Behold the Lamb of God, who takes away the sin of the world", making the lamb "the double of Jesus himself." This is why Saint John the Baptist is associated with the lamb, as one respectively announces and the other symbolizes the Passion of Christ: in fact, in a more direct and coherent scheme, the painter substitutes the bearer of the announcement of the Passion present in the first cartoon with the symbol of the event.Such a proposal is in line with the painter's research, carried out in the 1480s, depicting Jesus with a cat. Indeed, the association or interchangeability of the two animals is present in the research of the painter and his entourage: for example, in a painting by the Spanish Leonardeschi painter Hernando de los Llanos (or Fernando Yáñez de la Almedina) inspired by several of the master's drawings on the theme of the Madonna with cat, scientific imagery shows that the lamb held by the Child was originally a cat. This filiation enabled the painter to answer the following questions: where should the lamb and the Child be placed? What interactions should be established between these two figures? The first instance of the lamb figure is the drawing in the Louvre (inv. no. RF 460), which shares many similarities with his Study for the Madonna of the Cat (1479–1480): in both cases, the animal is placed in the arms of Christ, who is himself on his mother's lap. After the Louvre drawing, the lamb also appears in the Venice drawing (inv. no. 230), which is slightly later: this time, Leonardo da Vinci places it on the ground, but the Child remains on his mother's lap. These moves are completed in Fra Pietro's Cartoon, where the two figures are placed at the Virgin's feet, with the Child straddling the animal.The benefit to the painter of eliminating John the Baptist is threefold. Firstly, it makes the composition more compact: the construction can focus on the three figures of the family and thus become vertical again – in the iconographic tradition of the theme – to emphasize the succession of generations. What's more, the refocused narration removes the double visual dialogue between Mary/Anne and Jesus/Saint John the Baptist and becomes a three-way dialogue, as confirmed by the rotation of baby Jesus towards his mother. Finally, this choice introduces another element of dynamism – that of the little animal, along with that of the Child – which the calm of the Baptist figure did not allow in the Burlington House Cartoon.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: Explain the From Saint John the Baptist to the Lamb about the Analysis of this artwork, The Virgin and Child with Saint Anne (cartoon).

When it came to composing his new cartoon, Leonardo da Vinci decided to change a number of elements, and in particular to abandon the figure of Saint John the Baptist as a child for a lamb. Researchers don't know the reasons for such a change: was it the commissioner's wish, or did he seek a better composition?Here, Leonardo da Vinci is proposing a realistic representation of the animal rather than the heraldic representation often used in Italian Renaissance art, where it appears within a disc or resting on a book. The lamb is one of the attributes of Saint John the Baptist in Western art, in reference to his welcoming of Jesus with the words: "Behold the Lamb of God, who takes away the sin of the world", making the lamb "the double of Jesus himself." This is why Saint John the Baptist is associated with the lamb, as one respectively announces and the other symbolizes the Passion of Christ: in fact, in a more direct and coherent scheme, the painter substitutes the bearer of the announcement of the Passion present in the first cartoon with the symbol of the event.Such a proposal is in line with the painter's research, carried out in the 1480s, depicting Jesus with a cat. Indeed, the association or interchangeability of the two animals is present in the research of the painter and his entourage: for example, in a painting by the Spanish Leonardeschi painter Hernando de los Llanos (or Fernando Yáñez de la Almedina) inspired by several of the master's drawings on the theme of the Madonna with cat, scientific imagery shows that the lamb held by the Child was originally a cat. This filiation enabled the painter to answer the following questions: where should the lamb and the Child be placed? What interactions should be established between these two figures? The first instance of the lamb figure is the drawing in the Louvre (inv. no. RF 460), which shares many similarities with his Study for the Madonna of the Cat (1479–1480): in both cases, the animal is placed in the arms of Christ, who is himself on his mother's lap. After the Louvre drawing, the lamb also appears in the Venice drawing (inv. no. 230), which is slightly later: this time, Leonardo da Vinci places it on the ground, but the Child remains on his mother's lap. These moves are completed in Fra Pietro's Cartoon, where the two figures are placed at the Virgin's feet, with the Child straddling the animal.The benefit to the painter of eliminating John the Baptist is threefold. Firstly, it makes the composition more compact: the construction can focus on the three figures of the family and thus become vertical again – in the iconographic tradition of the theme – to emphasize the succession of generations. What's more, the refocused narration removes the double visual dialogue between Mary/Anne and Jesus/Saint John the Baptist and becomes a three-way dialogue, as confirmed by the rotation of baby Jesus towards his mother. Finally, this choice introduces another element of dynamism – that of the little animal, along with that of the Child – which the calm of the Baptist figure did not allow in the Burlington House Cartoon.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: In The Virgin and Child with Saint Anne (cartoon), how is the From Saint John the Baptist to the Lamb of the Analysis explained?

When it came to composing his new cartoon, Leonardo da Vinci decided to change a number of elements, and in particular to abandon the figure of Saint John the Baptist as a child for a lamb. Researchers don't know the reasons for such a change: was it the commissioner's wish, or did he seek a better composition?Here, Leonardo da Vinci is proposing a realistic representation of the animal rather than the heraldic representation often used in Italian Renaissance art, where it appears within a disc or resting on a book. The lamb is one of the attributes of Saint John the Baptist in Western art, in reference to his welcoming of Jesus with the words: "Behold the Lamb of God, who takes away the sin of the world", making the lamb "the double of Jesus himself." This is why Saint John the Baptist is associated with the lamb, as one respectively announces and the other symbolizes the Passion of Christ: in fact, in a more direct and coherent scheme, the painter substitutes the bearer of the announcement of the Passion present in the first cartoon with the symbol of the event.Such a proposal is in line with the painter's research, carried out in the 1480s, depicting Jesus with a cat. Indeed, the association or interchangeability of the two animals is present in the research of the painter and his entourage: for example, in a painting by the Spanish Leonardeschi painter Hernando de los Llanos (or Fernando Yáñez de la Almedina) inspired by several of the master's drawings on the theme of the Madonna with cat, scientific imagery shows that the lamb held by the Child was originally a cat. This filiation enabled the painter to answer the following questions: where should the lamb and the Child be placed? What interactions should be established between these two figures? The first instance of the lamb figure is the drawing in the Louvre (inv. no. RF 460), which shares many similarities with his Study for the Madonna of the Cat (1479–1480): in both cases, the animal is placed in the arms of Christ, who is himself on his mother's lap. After the Louvre drawing, the lamb also appears in the Venice drawing (inv. no. 230), which is slightly later: this time, Leonardo da Vinci places it on the ground, but the Child remains on his mother's lap. These moves are completed in Fra Pietro's Cartoon, where the two figures are placed at the Virgin's feet, with the Child straddling the animal.The benefit to the painter of eliminating John the Baptist is threefold. Firstly, it makes the composition more compact: the construction can focus on the three figures of the family and thus become vertical again – in the iconographic tradition of the theme – to emphasize the succession of generations. What's more, the refocused narration removes the double visual dialogue between Mary/Anne and Jesus/Saint John the Baptist and becomes a three-way dialogue, as confirmed by the rotation of baby Jesus towards his mother. Finally, this choice introduces another element of dynamism – that of the little animal, along with that of the Child – which the calm of the Baptist figure did not allow in the Burlington House Cartoon.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: Describe the characteristics of the From Saint John the Baptist to the Lamb in The Virgin and Child with Saint Anne (cartoon)'s Analysis.

When it came to composing his new cartoon, Leonardo da Vinci decided to change a number of elements, and in particular to abandon the figure of Saint John the Baptist as a child for a lamb. Researchers don't know the reasons for such a change: was it the commissioner's wish, or did he seek a better composition?Here, Leonardo da Vinci is proposing a realistic representation of the animal rather than the heraldic representation often used in Italian Renaissance art, where it appears within a disc or resting on a book. The lamb is one of the attributes of Saint John the Baptist in Western art, in reference to his welcoming of Jesus with the words: "Behold the Lamb of God, who takes away the sin of the world", making the lamb "the double of Jesus himself." This is why Saint John the Baptist is associated with the lamb, as one respectively announces and the other symbolizes the Passion of Christ: in fact, in a more direct and coherent scheme, the painter substitutes the bearer of the announcement of the Passion present in the first cartoon with the symbol of the event.Such a proposal is in line with the painter's research, carried out in the 1480s, depicting Jesus with a cat. Indeed, the association or interchangeability of the two animals is present in the research of the painter and his entourage: for example, in a painting by the Spanish Leonardeschi painter Hernando de los Llanos (or Fernando Yáñez de la Almedina) inspired by several of the master's drawings on the theme of the Madonna with cat, scientific imagery shows that the lamb held by the Child was originally a cat. This filiation enabled the painter to answer the following questions: where should the lamb and the Child be placed? What interactions should be established between these two figures? The first instance of the lamb figure is the drawing in the Louvre (inv. no. RF 460), which shares many similarities with his Study for the Madonna of the Cat (1479–1480): in both cases, the animal is placed in the arms of Christ, who is himself on his mother's lap. After the Louvre drawing, the lamb also appears in the Venice drawing (inv. no. 230), which is slightly later: this time, Leonardo da Vinci places it on the ground, but the Child remains on his mother's lap. These moves are completed in Fra Pietro's Cartoon, where the two figures are placed at the Virgin's feet, with the Child straddling the animal.The benefit to the painter of eliminating John the Baptist is threefold. Firstly, it makes the composition more compact: the construction can focus on the three figures of the family and thus become vertical again – in the iconographic tradition of the theme – to emphasize the succession of generations. What's more, the refocused narration removes the double visual dialogue between Mary/Anne and Jesus/Saint John the Baptist and becomes a three-way dialogue, as confirmed by the rotation of baby Jesus towards his mother. Finally, this choice introduces another element of dynamism – that of the little animal, along with that of the Child – which the calm of the Baptist figure did not allow in the Burlington House Cartoon.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: In the context of The Virgin and Child with Saint Anne (cartoon), explain the Interpretation and the Analysis.

Leonardo da Vinci captures the moment when Mary is challenged by her mother and son to accept the latter's sacrifice. Unlike traditional representations of the "Trinitarian Saint Anne", which are generally mere symbolic images, the painter offers a true narrative, depicted "like a family genre scene in which a grandmother and her daughter observe the seemingly innocent play of the Child", whose purpose is to reveal God's goal: the sacrifice of his son for the salvation of humanity.This interpretation is summed up by Fra Pietro Novellara in his letter to Isabella d'Este, contemporaneous with the work's creation. First, he describes how "the Child Jesus, about a year old, has almost escaped from his mother's arms. He turns to a lamb and seems to wrap his arms around it." Jesus' gesture of "embracing" the animal is understood as an acceptance of his destiny – an acceptance accentuated by the fact that the Child has joined him on the ground. But Andrea del Brescianino's painting also shows him turning towards his mother, as a sign of comfort and an invitation to accept his fate.However, the Virgin Mary reacts protectively towards her son: "The mother, who almost rises from Saint Anne's lap, holds the Child firmly to separate him from the lamb – a sacrificial animal that signifies the Passion."  At the same time, says Pietro Novellara, "Saint Anne, who rises a little, seems to want to hold back her daughter, so that she does not separate the Child from the lamb." However, this gesture is discreet: she only holds her daughter back with her fingertips, as she seems to accept her son's future death, and is no longer obliged to invoke Heaven by pointing her index finger at it, as was the case in the Burlington House Cartoon.Lastly, Novellara's testimony suggests a double reading: Anne, who prevents her daughter from holding back Jesus, is not simply Mary's mother, but also represents the Church ("Saint Anne, who stands up a little, seems to want to hold back her daughter, so that she does not separate the child from the lamb. This perhaps represents the Church, which does not wish to prevent the Passion of Christ"). The man was in fact an eminent member of the clergy: a renowned preacher, he had been vicar-general of the Bologna chapter since May 3, 1499, and remained so until May 3, 1501, after which he became prior of the Mantua convent. As a simple believer, he believed that Christ's destiny was the Passion, and as a member of the clergy, he necessarily considered that the Church must prevent Mary from diverting Christ from this destiny.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: Explain the Interpretation about the Analysis of this artwork, The Virgin and Child with Saint Anne (cartoon).

Leonardo da Vinci captures the moment when Mary is challenged by her mother and son to accept the latter's sacrifice. Unlike traditional representations of the "Trinitarian Saint Anne", which are generally mere symbolic images, the painter offers a true narrative, depicted "like a family genre scene in which a grandmother and her daughter observe the seemingly innocent play of the Child", whose purpose is to reveal God's goal: the sacrifice of his son for the salvation of humanity.This interpretation is summed up by Fra Pietro Novellara in his letter to Isabella d'Este, contemporaneous with the work's creation. First, he describes how "the Child Jesus, about a year old, has almost escaped from his mother's arms. He turns to a lamb and seems to wrap his arms around it." Jesus' gesture of "embracing" the animal is understood as an acceptance of his destiny – an acceptance accentuated by the fact that the Child has joined him on the ground. But Andrea del Brescianino's painting also shows him turning towards his mother, as a sign of comfort and an invitation to accept his fate.However, the Virgin Mary reacts protectively towards her son: "The mother, who almost rises from Saint Anne's lap, holds the Child firmly to separate him from the lamb – a sacrificial animal that signifies the Passion."  At the same time, says Pietro Novellara, "Saint Anne, who rises a little, seems to want to hold back her daughter, so that she does not separate the Child from the lamb." However, this gesture is discreet: she only holds her daughter back with her fingertips, as she seems to accept her son's future death, and is no longer obliged to invoke Heaven by pointing her index finger at it, as was the case in the Burlington House Cartoon.Lastly, Novellara's testimony suggests a double reading: Anne, who prevents her daughter from holding back Jesus, is not simply Mary's mother, but also represents the Church ("Saint Anne, who stands up a little, seems to want to hold back her daughter, so that she does not separate the child from the lamb. This perhaps represents the Church, which does not wish to prevent the Passion of Christ"). The man was in fact an eminent member of the clergy: a renowned preacher, he had been vicar-general of the Bologna chapter since May 3, 1499, and remained so until May 3, 1501, after which he became prior of the Mantua convent. As a simple believer, he believed that Christ's destiny was the Passion, and as a member of the clergy, he necessarily considered that the Church must prevent Mary from diverting Christ from this destiny.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: In The Virgin and Child with Saint Anne (cartoon), how is the Interpretation of the Analysis explained?

Leonardo da Vinci captures the moment when Mary is challenged by her mother and son to accept the latter's sacrifice. Unlike traditional representations of the "Trinitarian Saint Anne", which are generally mere symbolic images, the painter offers a true narrative, depicted "like a family genre scene in which a grandmother and her daughter observe the seemingly innocent play of the Child", whose purpose is to reveal God's goal: the sacrifice of his son for the salvation of humanity.This interpretation is summed up by Fra Pietro Novellara in his letter to Isabella d'Este, contemporaneous with the work's creation. First, he describes how "the Child Jesus, about a year old, has almost escaped from his mother's arms. He turns to a lamb and seems to wrap his arms around it." Jesus' gesture of "embracing" the animal is understood as an acceptance of his destiny – an acceptance accentuated by the fact that the Child has joined him on the ground. But Andrea del Brescianino's painting also shows him turning towards his mother, as a sign of comfort and an invitation to accept his fate.However, the Virgin Mary reacts protectively towards her son: "The mother, who almost rises from Saint Anne's lap, holds the Child firmly to separate him from the lamb – a sacrificial animal that signifies the Passion."  At the same time, says Pietro Novellara, "Saint Anne, who rises a little, seems to want to hold back her daughter, so that she does not separate the Child from the lamb." However, this gesture is discreet: she only holds her daughter back with her fingertips, as she seems to accept her son's future death, and is no longer obliged to invoke Heaven by pointing her index finger at it, as was the case in the Burlington House Cartoon.Lastly, Novellara's testimony suggests a double reading: Anne, who prevents her daughter from holding back Jesus, is not simply Mary's mother, but also represents the Church ("Saint Anne, who stands up a little, seems to want to hold back her daughter, so that she does not separate the child from the lamb. This perhaps represents the Church, which does not wish to prevent the Passion of Christ"). The man was in fact an eminent member of the clergy: a renowned preacher, he had been vicar-general of the Bologna chapter since May 3, 1499, and remained so until May 3, 1501, after which he became prior of the Mantua convent. As a simple believer, he believed that Christ's destiny was the Passion, and as a member of the clergy, he necessarily considered that the Church must prevent Mary from diverting Christ from this destiny.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: Describe the characteristics of the Interpretation in The Virgin and Child with Saint Anne (cartoon)'s Analysis.

Leonardo da Vinci captures the moment when Mary is challenged by her mother and son to accept the latter's sacrifice. Unlike traditional representations of the "Trinitarian Saint Anne", which are generally mere symbolic images, the painter offers a true narrative, depicted "like a family genre scene in which a grandmother and her daughter observe the seemingly innocent play of the Child", whose purpose is to reveal God's goal: the sacrifice of his son for the salvation of humanity.This interpretation is summed up by Fra Pietro Novellara in his letter to Isabella d'Este, contemporaneous with the work's creation. First, he describes how "the Child Jesus, about a year old, has almost escaped from his mother's arms. He turns to a lamb and seems to wrap his arms around it." Jesus' gesture of "embracing" the animal is understood as an acceptance of his destiny – an acceptance accentuated by the fact that the Child has joined him on the ground. But Andrea del Brescianino's painting also shows him turning towards his mother, as a sign of comfort and an invitation to accept his fate.However, the Virgin Mary reacts protectively towards her son: "The mother, who almost rises from Saint Anne's lap, holds the Child firmly to separate him from the lamb – a sacrificial animal that signifies the Passion."  At the same time, says Pietro Novellara, "Saint Anne, who rises a little, seems to want to hold back her daughter, so that she does not separate the Child from the lamb." However, this gesture is discreet: she only holds her daughter back with her fingertips, as she seems to accept her son's future death, and is no longer obliged to invoke Heaven by pointing her index finger at it, as was the case in the Burlington House Cartoon.Lastly, Novellara's testimony suggests a double reading: Anne, who prevents her daughter from holding back Jesus, is not simply Mary's mother, but also represents the Church ("Saint Anne, who stands up a little, seems to want to hold back her daughter, so that she does not separate the child from the lamb. This perhaps represents the Church, which does not wish to prevent the Passion of Christ"). The man was in fact an eminent member of the clergy: a renowned preacher, he had been vicar-general of the Bologna chapter since May 3, 1499, and remained so until May 3, 1501, after which he became prior of the Mantua convent. As a simple believer, he believed that Christ's destiny was the Passion, and as a member of the clergy, he necessarily considered that the Church must prevent Mary from diverting Christ from this destiny.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: Focus on The Virgin and Child with Saint Anne (cartoon) and explain the Posterity.

Fra Pietro's cartoon is not the subject of any autograph painting. Nevertheless, scholars – led by Austrian art historian Wilhelm Suida – consider that its composition was soon faithfully reproduced in two paintings. The earliest was painted between 1515 and 1517 by Andrea Piccinelli, known as "Il Brescianino", and was kept in Berlin's Kaiser-Friedrich Museum from 1829 until its destruction in 1945. Another artist – perhaps his brother Raffaello – produced a copy around the same period, now in the Museo del Prado in Madrid. Art historians consider that Andrea del Brescianino created his painting from an unfinished cartoon – which corresponds to the state in which Fra Novellara could observe it in April 1501 – because a description of the lost painting describes a color palette and treatment of faces quite unusual for Leonardo da Vinci.The success of the Child Riding the Lamb motif on Fra Pietro's CartoonAlthough the cartoon was eventually abandoned by the master, it was still an extremely useful project for the Saint Anne in the Louvre: Leonardo definitively abandoned the figure of St. John the Baptist in favor of the lamb, and solved the problem of positioning baby Jesus and the lamb at Mary's feet. As for the positions and poses of the two women, they are merely a variation on what could be seen on the cartoon. Finally, the importance of the latter for the painting is such that it can be considered to "unquestionably provide the iconological and formal matrix for the Sainte Anne in the Louvre."According to Sarah Taglialagamba, the cartoon's impact was "considerable" and therefore "quickly reused by Leonardo's followers." They readily imitated the motif of the Child straddling a lamb, usually under the gaze of his mother. One of its earliest occurrences dates back to 1507, with Raphael's Holy Family with a Lamb: the painter uses the Virgin, Child and Lamb, but St. Anne is replaced by St. Joseph. Although he reused the three main figures from the cartoon, it was above all this motif that Bernardino Luini also repeated in several paintings: The Virgin with Jesus and John the Baptist as Children, a fresco in the Church of St Mary of the Angels in Lugano dating from the first quarter of the 16th century; and another from which a follower drew the Holy Family with St. John the Baptist and St. Elizabeth. Giampietrino also uses it at least twice, each time showing Jesus in the company of Saint John the Baptist.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: Explain the Posterity of this artwork, The Virgin and Child with Saint Anne (cartoon).

Fra Pietro's cartoon is not the subject of any autograph painting. Nevertheless, scholars – led by Austrian art historian Wilhelm Suida – consider that its composition was soon faithfully reproduced in two paintings. The earliest was painted between 1515 and 1517 by Andrea Piccinelli, known as "Il Brescianino", and was kept in Berlin's Kaiser-Friedrich Museum from 1829 until its destruction in 1945. Another artist – perhaps his brother Raffaello – produced a copy around the same period, now in the Museo del Prado in Madrid. Art historians consider that Andrea del Brescianino created his painting from an unfinished cartoon – which corresponds to the state in which Fra Novellara could observe it in April 1501 – because a description of the lost painting describes a color palette and treatment of faces quite unusual for Leonardo da Vinci.The success of the Child Riding the Lamb motif on Fra Pietro's CartoonAlthough the cartoon was eventually abandoned by the master, it was still an extremely useful project for the Saint Anne in the Louvre: Leonardo definitively abandoned the figure of St. John the Baptist in favor of the lamb, and solved the problem of positioning baby Jesus and the lamb at Mary's feet. As for the positions and poses of the two women, they are merely a variation on what could be seen on the cartoon. Finally, the importance of the latter for the painting is such that it can be considered to "unquestionably provide the iconological and formal matrix for the Sainte Anne in the Louvre."According to Sarah Taglialagamba, the cartoon's impact was "considerable" and therefore "quickly reused by Leonardo's followers." They readily imitated the motif of the Child straddling a lamb, usually under the gaze of his mother. One of its earliest occurrences dates back to 1507, with Raphael's Holy Family with a Lamb: the painter uses the Virgin, Child and Lamb, but St. Anne is replaced by St. Joseph. Although he reused the three main figures from the cartoon, it was above all this motif that Bernardino Luini also repeated in several paintings: The Virgin with Jesus and John the Baptist as Children, a fresco in the Church of St Mary of the Angels in Lugano dating from the first quarter of the 16th century; and another from which a follower drew the Holy Family with St. John the Baptist and St. Elizabeth. Giampietrino also uses it at least twice, each time showing Jesus in the company of Saint John the Baptist.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: How does The Virgin and Child with Saint Anne (cartoon) explain its Posterity?

Fra Pietro's cartoon is not the subject of any autograph painting. Nevertheless, scholars – led by Austrian art historian Wilhelm Suida – consider that its composition was soon faithfully reproduced in two paintings. The earliest was painted between 1515 and 1517 by Andrea Piccinelli, known as "Il Brescianino", and was kept in Berlin's Kaiser-Friedrich Museum from 1829 until its destruction in 1945. Another artist – perhaps his brother Raffaello – produced a copy around the same period, now in the Museo del Prado in Madrid. Art historians consider that Andrea del Brescianino created his painting from an unfinished cartoon – which corresponds to the state in which Fra Novellara could observe it in April 1501 – because a description of the lost painting describes a color palette and treatment of faces quite unusual for Leonardo da Vinci.The success of the Child Riding the Lamb motif on Fra Pietro's CartoonAlthough the cartoon was eventually abandoned by the master, it was still an extremely useful project for the Saint Anne in the Louvre: Leonardo definitively abandoned the figure of St. John the Baptist in favor of the lamb, and solved the problem of positioning baby Jesus and the lamb at Mary's feet. As for the positions and poses of the two women, they are merely a variation on what could be seen on the cartoon. Finally, the importance of the latter for the painting is such that it can be considered to "unquestionably provide the iconological and formal matrix for the Sainte Anne in the Louvre."According to Sarah Taglialagamba, the cartoon's impact was "considerable" and therefore "quickly reused by Leonardo's followers." They readily imitated the motif of the Child straddling a lamb, usually under the gaze of his mother. One of its earliest occurrences dates back to 1507, with Raphael's Holy Family with a Lamb: the painter uses the Virgin, Child and Lamb, but St. Anne is replaced by St. Joseph. Although he reused the three main figures from the cartoon, it was above all this motif that Bernardino Luini also repeated in several paintings: The Virgin with Jesus and John the Baptist as Children, a fresco in the Church of St Mary of the Angels in Lugano dating from the first quarter of the 16th century; and another from which a follower drew the Holy Family with St. John the Baptist and St. Elizabeth. Giampietrino also uses it at least twice, each time showing Jesus in the company of Saint John the Baptist.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Prompt: In The Virgin and Child with Saint Anne (cartoon), how is the Posterity discussed?

Fra Pietro's cartoon is not the subject of any autograph painting. Nevertheless, scholars – led by Austrian art historian Wilhelm Suida – consider that its composition was soon faithfully reproduced in two paintings. The earliest was painted between 1515 and 1517 by Andrea Piccinelli, known as "Il Brescianino", and was kept in Berlin's Kaiser-Friedrich Museum from 1829 until its destruction in 1945. Another artist – perhaps his brother Raffaello – produced a copy around the same period, now in the Museo del Prado in Madrid. Art historians consider that Andrea del Brescianino created his painting from an unfinished cartoon – which corresponds to the state in which Fra Novellara could observe it in April 1501 – because a description of the lost painting describes a color palette and treatment of faces quite unusual for Leonardo da Vinci.The success of the Child Riding the Lamb motif on Fra Pietro's CartoonAlthough the cartoon was eventually abandoned by the master, it was still an extremely useful project for the Saint Anne in the Louvre: Leonardo definitively abandoned the figure of St. John the Baptist in favor of the lamb, and solved the problem of positioning baby Jesus and the lamb at Mary's feet. As for the positions and poses of the two women, they are merely a variation on what could be seen on the cartoon. Finally, the importance of the latter for the painting is such that it can be considered to "unquestionably provide the iconological and formal matrix for the Sainte Anne in the Louvre."According to Sarah Taglialagamba, the cartoon's impact was "considerable" and therefore "quickly reused by Leonardo's followers." They readily imitated the motif of the Child straddling a lamb, usually under the gaze of his mother. One of its earliest occurrences dates back to 1507, with Raphael's Holy Family with a Lamb: the painter uses the Virgin, Child and Lamb, but St. Anne is replaced by St. Joseph. Although he reused the three main figures from the cartoon, it was above all this motif that Bernardino Luini also repeated in several paintings: The Virgin with Jesus and John the Baptist as Children, a fresco in the Church of St Mary of the Angels in Lugano dating from the first quarter of the 16th century; and another from which a follower drew the Holy Family with St. John the Baptist and St. Elizabeth. Giampietrino also uses it at least twice, each time showing Jesus in the company of Saint John the Baptist.

alt=Pencil drawing of a group of two women and a child accompanied by a lamb

alt=Color photo of a painting depicting a woman sitting on the lap of another woman who is reaching out to a baby playing with lamb. All three figures are facing left.

Leonardo da Vinci or follower, ''The Virgin and Child with Saint Anne'', 16th century, private collection.

Pietro da Novellara, Letter to Isabelle d'Este, April 3, 1501, Mantua State Archives, Gonzaga Archives, E, XXVIII, 3. b. 1103, C. 272.

alt=Drawing of a woman sitting on the lap of another woman, holding a baby in her arms, who turns towards a child standing on the first woman's knee.

File:Leonardo da vinci, Design for St Anne.jpg

alt=Painting depicting a woman sitting on another woman's lap, reaching out for a baby playing with a lamb.

The Virgin and Child with Saint Anne (Leonardo)

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

File:Ferrando Spagnolo, Madonna con il Bambino e l’agnellino.jpg

alt=Painting of a woman carrying a baby on her right knee, holding a lamb in her arms.

File:Artiste inconnu, Sainte Anne, 1501, Prado.jpg

File:Pietro da Novellara, Lettre à Isabelle d'Este, 3 avril 1501.jpg

The Virgin and Child with Saint Anne and Saint John the Baptist#History

alt=Whole picture; slanting lines in green and yellow; blue triangle; red rectangles.

The cartoon was created for ''[[Virgin and Child with Saint Anne

dating of the ''Burlington House Cartoon''

Leonardo da Vinci, A Memory of His Childhood

Lives of the Most Excellent Painters, Sculptors, and Architects


Sleeping Cupid (Caravaggio)

Prompt: Focus on Sleeping Cupid (Caravaggio) and explain the abstract.

Sleeping Cupid is a painting by the Italian master Caravaggio.  Unlike many of Caravaggio's works, it can be dated accurately. It was commissioned for Fra Francesco dell'Antella, Florentine Secretary for Italy to Alof de Wignacourt, Grand Master of the Knights of Malta, and an old inscription on the back records that it was painted in Malta in 1608.The subject of a sleeping Cupid, bowstring broken and arrows cast aside, usually signifies the abandonment of worldly pleasures, and dell'Antella may have commissioned it as a reminder of his vow of chastity.

Category:Paintings in the Galleria Palatina

Category:Mythological paintings by Caravaggio


Sleeping Cupid (Caravaggio)

Prompt: Explain the abstract of this artwork, Sleeping Cupid (Caravaggio).

Sleeping Cupid is a painting by the Italian master Caravaggio.  Unlike many of Caravaggio's works, it can be dated accurately. It was commissioned for Fra Francesco dell'Antella, Florentine Secretary for Italy to Alof de Wignacourt, Grand Master of the Knights of Malta, and an old inscription on the back records that it was painted in Malta in 1608.The subject of a sleeping Cupid, bowstring broken and arrows cast aside, usually signifies the abandonment of worldly pleasures, and dell'Antella may have commissioned it as a reminder of his vow of chastity.

Category:Paintings in the Galleria Palatina

Category:Mythological paintings by Caravaggio


Sleeping Cupid (Caravaggio)

Prompt: How does Sleeping Cupid (Caravaggio) explain its abstract?

Sleeping Cupid is a painting by the Italian master Caravaggio.  Unlike many of Caravaggio's works, it can be dated accurately. It was commissioned for Fra Francesco dell'Antella, Florentine Secretary for Italy to Alof de Wignacourt, Grand Master of the Knights of Malta, and an old inscription on the back records that it was painted in Malta in 1608.The subject of a sleeping Cupid, bowstring broken and arrows cast aside, usually signifies the abandonment of worldly pleasures, and dell'Antella may have commissioned it as a reminder of his vow of chastity.

Category:Paintings in the Galleria Palatina

Category:Mythological paintings by Caravaggio


Sleeping Cupid (Caravaggio)

Prompt: In Sleeping Cupid (Caravaggio), how is the abstract discussed?

Sleeping Cupid is a painting by the Italian master Caravaggio.  Unlike many of Caravaggio's works, it can be dated accurately. It was commissioned for Fra Francesco dell'Antella, Florentine Secretary for Italy to Alof de Wignacourt, Grand Master of the Knights of Malta, and an old inscription on the back records that it was painted in Malta in 1608.The subject of a sleeping Cupid, bowstring broken and arrows cast aside, usually signifies the abandonment of worldly pleasures, and dell'Antella may have commissioned it as a reminder of his vow of chastity.

Category:Paintings in the Galleria Palatina

Category:Mythological paintings by Caravaggio


The Death of Germanicus

Prompt: Focus on The Death of Germanicus and explain the abstract.

The Death of Germanicus is a painting made in 1627 by Nicolas Poussin for Francesco Barberini. It is kept at the Minneapolis Institute of Art.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Explain the abstract of this artwork, The Death of Germanicus.

The Death of Germanicus is a painting made in 1627 by Nicolas Poussin for Francesco Barberini. It is kept at the Minneapolis Institute of Art.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: How does The Death of Germanicus explain its abstract?

The Death of Germanicus is a painting made in 1627 by Nicolas Poussin for Francesco Barberini. It is kept at the Minneapolis Institute of Art.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In The Death of Germanicus, how is the abstract discussed?

The Death of Germanicus is a painting made in 1627 by Nicolas Poussin for Francesco Barberini. It is kept at the Minneapolis Institute of Art.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Focus on The Death of Germanicus and explain the History.

The painting was commissioned by Cardinal Francesco Barberini (1597–1679), nephew of Pope Urban VIII and legate in France. The order was probably placed in October 1626, returning from a diplomatic visit to Spain. He called on Nicolas Poussin, then a young painter who had recently settled in Rome since 1624, whom he may have known thanks to the poet Giambattista Marino, perhaps through the intermediary of the banker and patron Marcello Sacchetti. Barberini had already commissioned a Capture of Jerusalem (Israel Museum) from Poussin, painted around 1625-1626 and given as a gift to Cardinal Richelieu. The painting was delivered on January 21, 1628, and a receipt signed by the painter's hand indicates that he obtained the sum of 60 crowns for this work. The painting very quickly obtained a great echo because from the following February, Poussin was chosen to paint an altarpiece in Saint Peter's Basilica, The Martyrdom of Saint Erasmus.The painting is given by Francesco to his nephew Maffeo Barberini (1631–1685), prince of Palestrina. It then remained in the collections of the Barberini Family in Rome and Florence until 1958. That year, it was acquired by the Minneapolis Institute of Art with the support of the William Hood Dunwoody Fund.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Explain the History of this artwork, The Death of Germanicus.

The painting was commissioned by Cardinal Francesco Barberini (1597–1679), nephew of Pope Urban VIII and legate in France. The order was probably placed in October 1626, returning from a diplomatic visit to Spain. He called on Nicolas Poussin, then a young painter who had recently settled in Rome since 1624, whom he may have known thanks to the poet Giambattista Marino, perhaps through the intermediary of the banker and patron Marcello Sacchetti. Barberini had already commissioned a Capture of Jerusalem (Israel Museum) from Poussin, painted around 1625-1626 and given as a gift to Cardinal Richelieu. The painting was delivered on January 21, 1628, and a receipt signed by the painter's hand indicates that he obtained the sum of 60 crowns for this work. The painting very quickly obtained a great echo because from the following February, Poussin was chosen to paint an altarpiece in Saint Peter's Basilica, The Martyrdom of Saint Erasmus.The painting is given by Francesco to his nephew Maffeo Barberini (1631–1685), prince of Palestrina. It then remained in the collections of the Barberini Family in Rome and Florence until 1958. That year, it was acquired by the Minneapolis Institute of Art with the support of the William Hood Dunwoody Fund.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: How does The Death of Germanicus explain its History?

The painting was commissioned by Cardinal Francesco Barberini (1597–1679), nephew of Pope Urban VIII and legate in France. The order was probably placed in October 1626, returning from a diplomatic visit to Spain. He called on Nicolas Poussin, then a young painter who had recently settled in Rome since 1624, whom he may have known thanks to the poet Giambattista Marino, perhaps through the intermediary of the banker and patron Marcello Sacchetti. Barberini had already commissioned a Capture of Jerusalem (Israel Museum) from Poussin, painted around 1625-1626 and given as a gift to Cardinal Richelieu. The painting was delivered on January 21, 1628, and a receipt signed by the painter's hand indicates that he obtained the sum of 60 crowns for this work. The painting very quickly obtained a great echo because from the following February, Poussin was chosen to paint an altarpiece in Saint Peter's Basilica, The Martyrdom of Saint Erasmus.The painting is given by Francesco to his nephew Maffeo Barberini (1631–1685), prince of Palestrina. It then remained in the collections of the Barberini Family in Rome and Florence until 1958. That year, it was acquired by the Minneapolis Institute of Art with the support of the William Hood Dunwoody Fund.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In The Death of Germanicus, how is the History discussed?

The painting was commissioned by Cardinal Francesco Barberini (1597–1679), nephew of Pope Urban VIII and legate in France. The order was probably placed in October 1626, returning from a diplomatic visit to Spain. He called on Nicolas Poussin, then a young painter who had recently settled in Rome since 1624, whom he may have known thanks to the poet Giambattista Marino, perhaps through the intermediary of the banker and patron Marcello Sacchetti. Barberini had already commissioned a Capture of Jerusalem (Israel Museum) from Poussin, painted around 1625-1626 and given as a gift to Cardinal Richelieu. The painting was delivered on January 21, 1628, and a receipt signed by the painter's hand indicates that he obtained the sum of 60 crowns for this work. The painting very quickly obtained a great echo because from the following February, Poussin was chosen to paint an altarpiece in Saint Peter's Basilica, The Martyrdom of Saint Erasmus.The painting is given by Francesco to his nephew Maffeo Barberini (1631–1685), prince of Palestrina. It then remained in the collections of the Barberini Family in Rome and Florence until 1958. That year, it was acquired by the Minneapolis Institute of Art with the support of the William Hood Dunwoody Fund.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In the context of The Death of Germanicus, explain the Subject and the Description.

Poussin is probably the first painter to examine this subject. This episode in the history of ancient Rome is taken from the Annals of Tacitus. It describes the military successes of the Roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname. He was sent to fight in Syria, but there was opposition from Governor Gnaeus Calpurnius Piso. He died suddenly on the spot, in Antioch, accusing Piso of having poisoned him on the orders of Tiberius. He made his wife Agrippina the Elder and the rest of his family swear to avenge his death, enjoying great popularity among the Roman people. Poussin undoubtedly learned of Tacitus' text through an Italian translation, which was numerous at the time in Rome.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Explain the Subject about the Description of this artwork, The Death of Germanicus.

Poussin is probably the first painter to examine this subject. This episode in the history of ancient Rome is taken from the Annals of Tacitus. It describes the military successes of the Roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname. He was sent to fight in Syria, but there was opposition from Governor Gnaeus Calpurnius Piso. He died suddenly on the spot, in Antioch, accusing Piso of having poisoned him on the orders of Tiberius. He made his wife Agrippina the Elder and the rest of his family swear to avenge his death, enjoying great popularity among the Roman people. Poussin undoubtedly learned of Tacitus' text through an Italian translation, which was numerous at the time in Rome.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In The Death of Germanicus, how is the Subject of the Description explained?

Poussin is probably the first painter to examine this subject. This episode in the history of ancient Rome is taken from the Annals of Tacitus. It describes the military successes of the Roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname. He was sent to fight in Syria, but there was opposition from Governor Gnaeus Calpurnius Piso. He died suddenly on the spot, in Antioch, accusing Piso of having poisoned him on the orders of Tiberius. He made his wife Agrippina the Elder and the rest of his family swear to avenge his death, enjoying great popularity among the Roman people. Poussin undoubtedly learned of Tacitus' text through an Italian translation, which was numerous at the time in Rome.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Describe the characteristics of the Subject in The Death of Germanicus's Description.

Poussin is probably the first painter to examine this subject. This episode in the history of ancient Rome is taken from the Annals of Tacitus. It describes the military successes of the Roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname. He was sent to fight in Syria, but there was opposition from Governor Gnaeus Calpurnius Piso. He died suddenly on the spot, in Antioch, accusing Piso of having poisoned him on the orders of Tiberius. He made his wife Agrippina the Elder and the rest of his family swear to avenge his death, enjoying great popularity among the Roman people. Poussin undoubtedly learned of Tacitus' text through an Italian translation, which was numerous at the time in Rome.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In the context of The Death of Germanicus, explain the Sources of inspiration and the Description.

The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta)In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger (Musée du Louvre). Poussin's painting also seems to be inspired by The Death of Constantine, taken from a series of tapestries on the Life of Constantine from cartoons by Peter Paul Rubens, offered in 1625 by Louis XIII to Francesco Barberini.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Explain the Sources of inspiration about the Description of this artwork, The Death of Germanicus.

The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta)In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger (Musée du Louvre). Poussin's painting also seems to be inspired by The Death of Constantine, taken from a series of tapestries on the Life of Constantine from cartoons by Peter Paul Rubens, offered in 1625 by Louis XIII to Francesco Barberini.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In The Death of Germanicus, how is the Sources of inspiration of the Description explained?

The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta)In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger (Musée du Louvre). Poussin's painting also seems to be inspired by The Death of Constantine, taken from a series of tapestries on the Life of Constantine from cartoons by Peter Paul Rubens, offered in 1625 by Louis XIII to Francesco Barberini.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Describe the characteristics of the Sources of inspiration in The Death of Germanicus's Description.

The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta)In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger (Musée du Louvre). Poussin's painting also seems to be inspired by The Death of Constantine, taken from a series of tapestries on the Life of Constantine from cartoons by Peter Paul Rubens, offered in 1625 by Louis XIII to Francesco Barberini.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In the context of The Death of Germanicus, explain the Preparatory drawings? and the Description.

Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of Tacitus. At the top left, two figures are shown climbing up a staircase, which are not included in the painting. The second drawing, kept at the Musée Condé in Chantilly, has many variations compared to the Minneapolis painting: the number of characters is different. According to the style of the drawing, Pierre Rosenberg and Louis Antoine Prat put forward the hypothesis that it is not a preparatory drawing but a later one, produced around 1630–1632 with a view to the development of a second painting on the same theme but probably never executed.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Explain the Preparatory drawings? about the Description of this artwork, The Death of Germanicus.

Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of Tacitus. At the top left, two figures are shown climbing up a staircase, which are not included in the painting. The second drawing, kept at the Musée Condé in Chantilly, has many variations compared to the Minneapolis painting: the number of characters is different. According to the style of the drawing, Pierre Rosenberg and Louis Antoine Prat put forward the hypothesis that it is not a preparatory drawing but a later one, produced around 1630–1632 with a view to the development of a second painting on the same theme but probably never executed.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In The Death of Germanicus, how is the Preparatory drawings? of the Description explained?

Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of Tacitus. At the top left, two figures are shown climbing up a staircase, which are not included in the painting. The second drawing, kept at the Musée Condé in Chantilly, has many variations compared to the Minneapolis painting: the number of characters is different. According to the style of the drawing, Pierre Rosenberg and Louis Antoine Prat put forward the hypothesis that it is not a preparatory drawing but a later one, produced around 1630–1632 with a view to the development of a second painting on the same theme but probably never executed.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Describe the characteristics of the Preparatory drawings? in The Death of Germanicus's Description.

Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of Tacitus. At the top left, two figures are shown climbing up a staircase, which are not included in the painting. The second drawing, kept at the Musée Condé in Chantilly, has many variations compared to the Minneapolis painting: the number of characters is different. According to the style of the drawing, Pierre Rosenberg and Louis Antoine Prat put forward the hypothesis that it is not a preparatory drawing but a later one, produced around 1630–1632 with a view to the development of a second painting on the same theme but probably never executed.

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Focus on The Death of Germanicus and explain the Posterity.

From the time of Poussin, the painting became famous in artistic circles and the painting was copied and commented on many times. However, it was not until the middle of the 18th century that the theme of Germanicus' death was taken up in the painting, but each time inspired by Poussin. He is thus represented by Piat Sauvage in 1774 and by Heinrich Friedrich Füger in 1789. If the subject is not taken up much by the artists, many are those who insert in their works allusions to Poussin's painting from this period. This is the case of Jean-Baptiste Greuze in his Septimius Severus and Caracalla in 1769 or, in a more subtle way, of Jacques-Louis David's Oath of the Horatii in 1785 who declares about him: "If it is to Corneille that I owe my subject, it is to Poussin that I owe my painting ”. François Marius Granet in his Death of Poussin (Granet Museum), assimilates the painter to the Roman general. Finally, he still inspired Eugène Delacroix in The Last Words of the Emperor Marcus Aurelius in 1844 (Musée des beaux-arts de Lyon).

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: Explain the Posterity of this artwork, The Death of Germanicus.

From the time of Poussin, the painting became famous in artistic circles and the painting was copied and commented on many times. However, it was not until the middle of the 18th century that the theme of Germanicus' death was taken up in the painting, but each time inspired by Poussin. He is thus represented by Piat Sauvage in 1774 and by Heinrich Friedrich Füger in 1789. If the subject is not taken up much by the artists, many are those who insert in their works allusions to Poussin's painting from this period. This is the case of Jean-Baptiste Greuze in his Septimius Severus and Caracalla in 1769 or, in a more subtle way, of Jacques-Louis David's Oath of the Horatii in 1785 who declares about him: "If it is to Corneille that I owe my subject, it is to Poussin that I owe my painting ”. François Marius Granet in his Death of Poussin (Granet Museum), assimilates the painter to the Roman general. Finally, he still inspired Eugène Delacroix in The Last Words of the Emperor Marcus Aurelius in 1844 (Musée des beaux-arts de Lyon).

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: How does The Death of Germanicus explain its Posterity?

From the time of Poussin, the painting became famous in artistic circles and the painting was copied and commented on many times. However, it was not until the middle of the 18th century that the theme of Germanicus' death was taken up in the painting, but each time inspired by Poussin. He is thus represented by Piat Sauvage in 1774 and by Heinrich Friedrich Füger in 1789. If the subject is not taken up much by the artists, many are those who insert in their works allusions to Poussin's painting from this period. This is the case of Jean-Baptiste Greuze in his Septimius Severus and Caracalla in 1769 or, in a more subtle way, of Jacques-Louis David's Oath of the Horatii in 1785 who declares about him: "If it is to Corneille that I owe my subject, it is to Poussin that I owe my painting ”. François Marius Granet in his Death of Poussin (Granet Museum), assimilates the painter to the Roman general. Finally, he still inspired Eugène Delacroix in The Last Words of the Emperor Marcus Aurelius in 1844 (Musée des beaux-arts de Lyon).

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


The Death of Germanicus

Prompt: In The Death of Germanicus, how is the Posterity discussed?

From the time of Poussin, the painting became famous in artistic circles and the painting was copied and commented on many times. However, it was not until the middle of the 18th century that the theme of Germanicus' death was taken up in the painting, but each time inspired by Poussin. He is thus represented by Piat Sauvage in 1774 and by Heinrich Friedrich Füger in 1789. If the subject is not taken up much by the artists, many are those who insert in their works allusions to Poussin's painting from this period. This is the case of Jean-Baptiste Greuze in his Septimius Severus and Caracalla in 1769 or, in a more subtle way, of Jacques-Louis David's Oath of the Horatii in 1785 who declares about him: "If it is to Corneille that I owe my subject, it is to Poussin that I owe my painting ”. François Marius Granet in his Death of Poussin (Granet Museum), assimilates the painter to the Roman general. Finally, he still inspired Eugène Delacroix in The Last Words of the Emperor Marcus Aurelius in 1844 (Musée des beaux-arts de Lyon).

Heinrich Friedrich Füger - ''The Death of Germanicus'' (1789)

Category:Paintings based on works by Tacitus

Category:Paintings in the Minneapolis Institute of Art


Living Still Life

Prompt: Focus on Living Still Life and explain the abstract.

Living Still Life (French: Nature Morte Vivante) is a 1956 painting by the artist Salvador Dalí. Dali painted this piece during a period that he called "Nuclear Mysticism". Nuclear Mysticism is composed of different theories that try to show the relationships between quantum physics and the conscious mind. The different theories are composed of elements that range from "Catalan philosophers” to "classicism, pop art, and nuclear physics". The painting, done in 1956, currently resides at the Salvador Dali Museum in St. Petersburg, Florida.The name Nature Morte Vivante translates in English to "living still life". It comes from the French nature morte which literally translates to "dead nature". By appending "vivante", which implies "fast moving action and a certain lively quality", Dali was essentially naming this piece "dead nature in movement". This plays into his theme of Nuclear Mysticism which combined elements of art, physics, and science. The theory, as well as the term, "Nuclear Mysticism" was coined by Dali himself. In the late 1940s and early 1950s Dali started to "return to his Catholic roots following World War II". Nuclear mysticism is composed of different theories by Dali that combine science, physics, maths, and art. Post WWII, Dali became fascinated by the atom. Dali stated that after the U.S. dropped the first atomic bomb in Japan that it "shook me [Dali] seismically” and that the atom was his "favorite food for thought".Dali saw the beauty of the atom and was interested in how the atom makes up everything. In this painting, Dali wanted to show the motion that all objects have, that although an object is still, it is always full of millions of atoms that are constantly in motion. He portrays this thought throughout his painting. Every object in the painting is moving in some direction, one that an object of that type normally does not do. Dali was also obsessed with the spiral, which he thought to be "the most important feature in nature", and used it as "a symbol of cosmic order". Dali portrayed this idea by adding a spiral in the top right corner of his painting. Not only does Dali portray his objects flying around the scene, he shows them twisted in usual ways. For example, the silver bowl is not only shown mid-air, but also twisted in an unnatural way for silver to bend. Dali also infused religious elements of Nuclear Mysticism into this painting. On the table with the white tablecloth, the objects placed closest to the table and that appear to be the least in motion are a glass of wine, two grapes, a pear, a glass bottle with water pouring out, and what appears to be a fig leaf. The fig leaf has long been a religious symbol associated with Christianity. In the Bible, Adam and Eve use fig leaves to cover themselves after their deception in the Garden of Eden. The placement of the fig leaf in Dali's painting could allude to his reemergence back into Catholicism.Dali took inspiration from Dutch painter Floris van Schooten and his painting Table with Food for his own painting Nature Morte Vivante. Van Schooten's painting, which was a very common type of painting for its time, was a very typical still life that depicted food and drinks on a table with a crisp white tablecloth. Dali wanted to give his own take on it, and give it his surrealist signature by showing all of the objects in motion. He also added the tablecloth, which looks very similar to tablecloths that Schooten had used throughout his own paintings. Even though most of the objects Dali portrays are ordinary things, he puts a spin, literally and figuratively, on the motion and placement of the objects. The disarray of the objects alludes to his interest in nuclear mysticism. He believed that "all matter was not at all like it seemed, but instead had attributes that even he was only able to guess". He wanted to enforce that "that all objects are made of atomic particles in constant motion", which he portrays through the scattered items. He painted the still life objects to move in a life of his own, without the complacency of a typical still life.

Category:Paintings in St. Petersburg, Florida