Passing Mother's Grave

Prompt: Focus on Passing Mother's Grave and explain the Reception.

The painting is considered to be a milestone for 19th-century realism in the Netherlands. The art historian Sheila D. Muller has written that the artist accomplishes a "monumental treatment of the commonplace" and compared its impact with that of The Stone Breakers, an 1849 painting by the French realist painter Gustave Courbet. The Israeli newspaper Haaretz stated, "The works that came out of the Zandvoort experience are dark, somber and filled with feeling and compassion".The art historian H.E. van Gelder called the painting a "genuinely new moment and the obvious beginning of the second period of Israëls's development", in which he moved away from his previous interests in German Romanticism and his work emulating the Renaissance and Baroque masters. The painting gained popularity and was widely reproduced in print. For instance, artists Johannes Heinrich Rennefeld and Willem Steelink Jr. made prints of the painting on three separate occasions, which were then published and distributed both in and beyond the Netherlands. While the work is generally considered among the most prominent and recognized paintings by Israëls, it has also met with criticism, particularly in regard to what some have seen as an overtly sentimental subject matter. Writing for Scribner's Magazine in 1912, Byron P. Stephenson, who also worked as an art critic for the New York Evening Post, noted that while some people considered the work to be "one of Israëls's finest works", he thought the sentiment of the painting "cheap and mawkish".Due to the work's popularity, the subject of Passing Mother's Grave has also inspired the design of a statue in honor of Israëls—The Jozef Israëls Monument—in his hometown of Groningen, which depicts the figures from this painting cast in bronze. The Dutch painter Vincent van Gogh counted the painting among his favorites. He was fascinated by the painting and compared it with the work of French painter Eugène Delacroix, saying the painting was "Delacroix-like and superb" in its technique".The best-known version of the painting is in the collection of the Stedelijk Museum Amsterdam. Another version of the painting is owned by The New Art Gallery Walsall in Walsall, England; at least one other version is known, sold to a private buyer in Vienna in 1907. The Stedelijk version of the painting is dated 1857. The version in the Walsall's collection is dated 1854 and titled The Widower (The Fisherman's Return). In 2008 another copy of the painting, titled Passing Mother's Tomb, sold at Lempertz auction house in Cologne, Germany. The painting was listed as measuring 94 cm (37 in) x 71.5 cm (28.1 in) and realized a sale price of €19,200.

Detail from the ''[[Jozef Israëls Monument

File:Gustave Courbet - The Stonebreakers - WGA05457.jpg

Johann Heinrich Maria Hubert Rennefeld, a print from ''The Children of the Sea'' after the painting by Jozef Israëls (1861–1872)<ref name="Along the cemetery">{{cite web

Rijksbureau voor Kunsthistorische Documentatie

File:Langs moeders graf De kinderen der zee (serietitel), RP-P-1905-879.jpg

title=Along the cemetery, Johann Heinrich Maria Hubert Rennefeld, after Jozef Israels, 1859

File:Abraham Hesselink Jozef Israels.jpg

publisher=Ministerie van Onderwijs, Cultuur en Wetenschap


Passing Mother's Grave

Prompt: Explain the Reception of this artwork, Passing Mother's Grave.

The painting is considered to be a milestone for 19th-century realism in the Netherlands. The art historian Sheila D. Muller has written that the artist accomplishes a "monumental treatment of the commonplace" and compared its impact with that of The Stone Breakers, an 1849 painting by the French realist painter Gustave Courbet. The Israeli newspaper Haaretz stated, "The works that came out of the Zandvoort experience are dark, somber and filled with feeling and compassion".The art historian H.E. van Gelder called the painting a "genuinely new moment and the obvious beginning of the second period of Israëls's development", in which he moved away from his previous interests in German Romanticism and his work emulating the Renaissance and Baroque masters. The painting gained popularity and was widely reproduced in print. For instance, artists Johannes Heinrich Rennefeld and Willem Steelink Jr. made prints of the painting on three separate occasions, which were then published and distributed both in and beyond the Netherlands. While the work is generally considered among the most prominent and recognized paintings by Israëls, it has also met with criticism, particularly in regard to what some have seen as an overtly sentimental subject matter. Writing for Scribner's Magazine in 1912, Byron P. Stephenson, who also worked as an art critic for the New York Evening Post, noted that while some people considered the work to be "one of Israëls's finest works", he thought the sentiment of the painting "cheap and mawkish".Due to the work's popularity, the subject of Passing Mother's Grave has also inspired the design of a statue in honor of Israëls—The Jozef Israëls Monument—in his hometown of Groningen, which depicts the figures from this painting cast in bronze. The Dutch painter Vincent van Gogh counted the painting among his favorites. He was fascinated by the painting and compared it with the work of French painter Eugène Delacroix, saying the painting was "Delacroix-like and superb" in its technique".The best-known version of the painting is in the collection of the Stedelijk Museum Amsterdam. Another version of the painting is owned by The New Art Gallery Walsall in Walsall, England; at least one other version is known, sold to a private buyer in Vienna in 1907. The Stedelijk version of the painting is dated 1857. The version in the Walsall's collection is dated 1854 and titled The Widower (The Fisherman's Return). In 2008 another copy of the painting, titled Passing Mother's Tomb, sold at Lempertz auction house in Cologne, Germany. The painting was listed as measuring 94 cm (37 in) x 71.5 cm (28.1 in) and realized a sale price of €19,200.

Detail from the ''[[Jozef Israëls Monument

File:Gustave Courbet - The Stonebreakers - WGA05457.jpg

Johann Heinrich Maria Hubert Rennefeld, a print from ''The Children of the Sea'' after the painting by Jozef Israëls (1861–1872)<ref name="Along the cemetery">{{cite web

Rijksbureau voor Kunsthistorische Documentatie

File:Langs moeders graf De kinderen der zee (serietitel), RP-P-1905-879.jpg

title=Along the cemetery, Johann Heinrich Maria Hubert Rennefeld, after Jozef Israels, 1859

File:Abraham Hesselink Jozef Israels.jpg

publisher=Ministerie van Onderwijs, Cultuur en Wetenschap


Passing Mother's Grave

Prompt: How does Passing Mother's Grave explain its Reception?

The painting is considered to be a milestone for 19th-century realism in the Netherlands. The art historian Sheila D. Muller has written that the artist accomplishes a "monumental treatment of the commonplace" and compared its impact with that of The Stone Breakers, an 1849 painting by the French realist painter Gustave Courbet. The Israeli newspaper Haaretz stated, "The works that came out of the Zandvoort experience are dark, somber and filled with feeling and compassion".The art historian H.E. van Gelder called the painting a "genuinely new moment and the obvious beginning of the second period of Israëls's development", in which he moved away from his previous interests in German Romanticism and his work emulating the Renaissance and Baroque masters. The painting gained popularity and was widely reproduced in print. For instance, artists Johannes Heinrich Rennefeld and Willem Steelink Jr. made prints of the painting on three separate occasions, which were then published and distributed both in and beyond the Netherlands. While the work is generally considered among the most prominent and recognized paintings by Israëls, it has also met with criticism, particularly in regard to what some have seen as an overtly sentimental subject matter. Writing for Scribner's Magazine in 1912, Byron P. Stephenson, who also worked as an art critic for the New York Evening Post, noted that while some people considered the work to be "one of Israëls's finest works", he thought the sentiment of the painting "cheap and mawkish".Due to the work's popularity, the subject of Passing Mother's Grave has also inspired the design of a statue in honor of Israëls—The Jozef Israëls Monument—in his hometown of Groningen, which depicts the figures from this painting cast in bronze. The Dutch painter Vincent van Gogh counted the painting among his favorites. He was fascinated by the painting and compared it with the work of French painter Eugène Delacroix, saying the painting was "Delacroix-like and superb" in its technique".The best-known version of the painting is in the collection of the Stedelijk Museum Amsterdam. Another version of the painting is owned by The New Art Gallery Walsall in Walsall, England; at least one other version is known, sold to a private buyer in Vienna in 1907. The Stedelijk version of the painting is dated 1857. The version in the Walsall's collection is dated 1854 and titled The Widower (The Fisherman's Return). In 2008 another copy of the painting, titled Passing Mother's Tomb, sold at Lempertz auction house in Cologne, Germany. The painting was listed as measuring 94 cm (37 in) x 71.5 cm (28.1 in) and realized a sale price of €19,200.

Detail from the ''[[Jozef Israëls Monument

File:Gustave Courbet - The Stonebreakers - WGA05457.jpg

Johann Heinrich Maria Hubert Rennefeld, a print from ''The Children of the Sea'' after the painting by Jozef Israëls (1861–1872)<ref name="Along the cemetery">{{cite web

Rijksbureau voor Kunsthistorische Documentatie

File:Langs moeders graf De kinderen der zee (serietitel), RP-P-1905-879.jpg

title=Along the cemetery, Johann Heinrich Maria Hubert Rennefeld, after Jozef Israels, 1859

File:Abraham Hesselink Jozef Israels.jpg

publisher=Ministerie van Onderwijs, Cultuur en Wetenschap


Passing Mother's Grave

Prompt: In Passing Mother's Grave, how is the Reception discussed?

The painting is considered to be a milestone for 19th-century realism in the Netherlands. The art historian Sheila D. Muller has written that the artist accomplishes a "monumental treatment of the commonplace" and compared its impact with that of The Stone Breakers, an 1849 painting by the French realist painter Gustave Courbet. The Israeli newspaper Haaretz stated, "The works that came out of the Zandvoort experience are dark, somber and filled with feeling and compassion".The art historian H.E. van Gelder called the painting a "genuinely new moment and the obvious beginning of the second period of Israëls's development", in which he moved away from his previous interests in German Romanticism and his work emulating the Renaissance and Baroque masters. The painting gained popularity and was widely reproduced in print. For instance, artists Johannes Heinrich Rennefeld and Willem Steelink Jr. made prints of the painting on three separate occasions, which were then published and distributed both in and beyond the Netherlands. While the work is generally considered among the most prominent and recognized paintings by Israëls, it has also met with criticism, particularly in regard to what some have seen as an overtly sentimental subject matter. Writing for Scribner's Magazine in 1912, Byron P. Stephenson, who also worked as an art critic for the New York Evening Post, noted that while some people considered the work to be "one of Israëls's finest works", he thought the sentiment of the painting "cheap and mawkish".Due to the work's popularity, the subject of Passing Mother's Grave has also inspired the design of a statue in honor of Israëls—The Jozef Israëls Monument—in his hometown of Groningen, which depicts the figures from this painting cast in bronze. The Dutch painter Vincent van Gogh counted the painting among his favorites. He was fascinated by the painting and compared it with the work of French painter Eugène Delacroix, saying the painting was "Delacroix-like and superb" in its technique".The best-known version of the painting is in the collection of the Stedelijk Museum Amsterdam. Another version of the painting is owned by The New Art Gallery Walsall in Walsall, England; at least one other version is known, sold to a private buyer in Vienna in 1907. The Stedelijk version of the painting is dated 1857. The version in the Walsall's collection is dated 1854 and titled The Widower (The Fisherman's Return). In 2008 another copy of the painting, titled Passing Mother's Tomb, sold at Lempertz auction house in Cologne, Germany. The painting was listed as measuring 94 cm (37 in) x 71.5 cm (28.1 in) and realized a sale price of €19,200.

Detail from the ''[[Jozef Israëls Monument

File:Gustave Courbet - The Stonebreakers - WGA05457.jpg

Johann Heinrich Maria Hubert Rennefeld, a print from ''The Children of the Sea'' after the painting by Jozef Israëls (1861–1872)<ref name="Along the cemetery">{{cite web

Rijksbureau voor Kunsthistorische Documentatie

File:Langs moeders graf De kinderen der zee (serietitel), RP-P-1905-879.jpg

title=Along the cemetery, Johann Heinrich Maria Hubert Rennefeld, after Jozef Israels, 1859

File:Abraham Hesselink Jozef Israels.jpg

publisher=Ministerie van Onderwijs, Cultuur en Wetenschap


Paolo and Francesca da Rimini

Prompt: Focus on Paolo and Francesca da Rimini and explain the abstract.

Paolo and Francesca da Rimini is a watercolour by British artist and poet Dante Gabriel Rossetti, painted in 1855 and now in Tate Britain. The painting is a triptych inspired by Canto V of Dante's Inferno, which describes the adulterous love between Paolo Malatesta and his sister-in-law Francesca da Rimini. The left- and right-hand panels both show the lovers together; the central panel shows Dante and the Roman poet Virgil, who guides Dante through hell in the poem.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: Explain the abstract of this artwork, Paolo and Francesca da Rimini.

Paolo and Francesca da Rimini is a watercolour by British artist and poet Dante Gabriel Rossetti, painted in 1855 and now in Tate Britain. The painting is a triptych inspired by Canto V of Dante's Inferno, which describes the adulterous love between Paolo Malatesta and his sister-in-law Francesca da Rimini. The left- and right-hand panels both show the lovers together; the central panel shows Dante and the Roman poet Virgil, who guides Dante through hell in the poem.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: How does Paolo and Francesca da Rimini explain its abstract?

Paolo and Francesca da Rimini is a watercolour by British artist and poet Dante Gabriel Rossetti, painted in 1855 and now in Tate Britain. The painting is a triptych inspired by Canto V of Dante's Inferno, which describes the adulterous love between Paolo Malatesta and his sister-in-law Francesca da Rimini. The left- and right-hand panels both show the lovers together; the central panel shows Dante and the Roman poet Virgil, who guides Dante through hell in the poem.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: In Paolo and Francesca da Rimini, how is the abstract discussed?

Paolo and Francesca da Rimini is a watercolour by British artist and poet Dante Gabriel Rossetti, painted in 1855 and now in Tate Britain. The painting is a triptych inspired by Canto V of Dante's Inferno, which describes the adulterous love between Paolo Malatesta and his sister-in-law Francesca da Rimini. The left- and right-hand panels both show the lovers together; the central panel shows Dante and the Roman poet Virgil, who guides Dante through hell in the poem.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: Focus on Paolo and Francesca da Rimini and explain the History.

Rossetti's real name was Charles Gabriel Dante Rossetti, but his admiration for the great Florentine poet led him to change it to Dante Gabriel Rossetti, and he proceeded to sign all his work so. In the specific, the very subject of this painting is taken from Dante Aligheri's Inferno, Canto V – it is a small watercolour triptych executed in the archaic, medievalising style of this period in Rossetti's art, and was never painted in oil. Although the artist had been sketching the subject for many years, the watercolour took him just one week to complete. The buyer was the writer and critic John Ruskin. The drawing is simple and the colours generally muted. Only Francesca's long golden hair looks forward to the more sensuous creatures of Rossetti's later works. The picture was originally planned as a triptych in oil, with the same scenes as in the watercolour, but with the lovers kissing as the central motif.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: Explain the History of this artwork, Paolo and Francesca da Rimini.

Rossetti's real name was Charles Gabriel Dante Rossetti, but his admiration for the great Florentine poet led him to change it to Dante Gabriel Rossetti, and he proceeded to sign all his work so. In the specific, the very subject of this painting is taken from Dante Aligheri's Inferno, Canto V – it is a small watercolour triptych executed in the archaic, medievalising style of this period in Rossetti's art, and was never painted in oil. Although the artist had been sketching the subject for many years, the watercolour took him just one week to complete. The buyer was the writer and critic John Ruskin. The drawing is simple and the colours generally muted. Only Francesca's long golden hair looks forward to the more sensuous creatures of Rossetti's later works. The picture was originally planned as a triptych in oil, with the same scenes as in the watercolour, but with the lovers kissing as the central motif.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: How does Paolo and Francesca da Rimini explain its History?

Rossetti's real name was Charles Gabriel Dante Rossetti, but his admiration for the great Florentine poet led him to change it to Dante Gabriel Rossetti, and he proceeded to sign all his work so. In the specific, the very subject of this painting is taken from Dante Aligheri's Inferno, Canto V – it is a small watercolour triptych executed in the archaic, medievalising style of this period in Rossetti's art, and was never painted in oil. Although the artist had been sketching the subject for many years, the watercolour took him just one week to complete. The buyer was the writer and critic John Ruskin. The drawing is simple and the colours generally muted. Only Francesca's long golden hair looks forward to the more sensuous creatures of Rossetti's later works. The picture was originally planned as a triptych in oil, with the same scenes as in the watercolour, but with the lovers kissing as the central motif.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: In Paolo and Francesca da Rimini, how is the History discussed?

Rossetti's real name was Charles Gabriel Dante Rossetti, but his admiration for the great Florentine poet led him to change it to Dante Gabriel Rossetti, and he proceeded to sign all his work so. In the specific, the very subject of this painting is taken from Dante Aligheri's Inferno, Canto V – it is a small watercolour triptych executed in the archaic, medievalising style of this period in Rossetti's art, and was never painted in oil. Although the artist had been sketching the subject for many years, the watercolour took him just one week to complete. The buyer was the writer and critic John Ruskin. The drawing is simple and the colours generally muted. Only Francesca's long golden hair looks forward to the more sensuous creatures of Rossetti's later works. The picture was originally planned as a triptych in oil, with the same scenes as in the watercolour, but with the lovers kissing as the central motif.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: In the context of Paolo and Francesca da Rimini, explain the The Triptych and the inspiring Canto and the History.

Francesca was the sister-in-law of Paolo Malatesta, and both were married, but they fell in love. Their tragic adulterous story was told by Dante in his Divine Comedy, Canto V of the Inferno, and was a popular subject with Victorian artists and sculptors, especially with followers of the Pre-Raphaelite ideology, and with other writers.The triptych has several inscriptions taken from Canto V, with Rossetti bringing the story to life by writing relevant quotations in the original Italian around the edge of the composition. Its three parts read from left to right. The left-hand panel shows the adulterous kiss that condemns the lovers: staying faithful to Dante's poem, Rossetti depicts them reading about the Arthurian knight Sir Lancelot who also suffered for his forbidden love (his figure can be seen on the book's open page, dressed, like Paolo, in red and blue). The scene illustrates the following lines from Dante's text:One day we read, to pass the time away,of Lancelot, of how he fell in love;alone we were, and no suspicion near us ... then he, who never from me shall separate,at once my lips all trembling kissed.The central panel depicts two of Rossetti's literary heroes crowned with laurel: the Roman poet Virgil and the much-revered Dante himself – they regard with concern the two lovers on the right, who appear to float like wraiths in each other's arms, amid the flames of hell. Their adulterous relationship uncovered, they were murdered by Francesca's husband and Paolo's brother, Giovanni Malatesta, and banished to the second circle of hell.In the final panel of the triptych, the lovers are being blown about violently with the wind, as described by Dante's verses: The infernal storm, eternal in its rage, sweeps and drives the spirits with its blast.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: Explain the The Triptych and the inspiring Canto about the History of this artwork, Paolo and Francesca da Rimini.

Francesca was the sister-in-law of Paolo Malatesta, and both were married, but they fell in love. Their tragic adulterous story was told by Dante in his Divine Comedy, Canto V of the Inferno, and was a popular subject with Victorian artists and sculptors, especially with followers of the Pre-Raphaelite ideology, and with other writers.The triptych has several inscriptions taken from Canto V, with Rossetti bringing the story to life by writing relevant quotations in the original Italian around the edge of the composition. Its three parts read from left to right. The left-hand panel shows the adulterous kiss that condemns the lovers: staying faithful to Dante's poem, Rossetti depicts them reading about the Arthurian knight Sir Lancelot who also suffered for his forbidden love (his figure can be seen on the book's open page, dressed, like Paolo, in red and blue). The scene illustrates the following lines from Dante's text:One day we read, to pass the time away,of Lancelot, of how he fell in love;alone we were, and no suspicion near us ... then he, who never from me shall separate,at once my lips all trembling kissed.The central panel depicts two of Rossetti's literary heroes crowned with laurel: the Roman poet Virgil and the much-revered Dante himself – they regard with concern the two lovers on the right, who appear to float like wraiths in each other's arms, amid the flames of hell. Their adulterous relationship uncovered, they were murdered by Francesca's husband and Paolo's brother, Giovanni Malatesta, and banished to the second circle of hell.In the final panel of the triptych, the lovers are being blown about violently with the wind, as described by Dante's verses: The infernal storm, eternal in its rage, sweeps and drives the spirits with its blast.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: In Paolo and Francesca da Rimini, how is the The Triptych and the inspiring Canto of the History explained?

Francesca was the sister-in-law of Paolo Malatesta, and both were married, but they fell in love. Their tragic adulterous story was told by Dante in his Divine Comedy, Canto V of the Inferno, and was a popular subject with Victorian artists and sculptors, especially with followers of the Pre-Raphaelite ideology, and with other writers.The triptych has several inscriptions taken from Canto V, with Rossetti bringing the story to life by writing relevant quotations in the original Italian around the edge of the composition. Its three parts read from left to right. The left-hand panel shows the adulterous kiss that condemns the lovers: staying faithful to Dante's poem, Rossetti depicts them reading about the Arthurian knight Sir Lancelot who also suffered for his forbidden love (his figure can be seen on the book's open page, dressed, like Paolo, in red and blue). The scene illustrates the following lines from Dante's text:One day we read, to pass the time away,of Lancelot, of how he fell in love;alone we were, and no suspicion near us ... then he, who never from me shall separate,at once my lips all trembling kissed.The central panel depicts two of Rossetti's literary heroes crowned with laurel: the Roman poet Virgil and the much-revered Dante himself – they regard with concern the two lovers on the right, who appear to float like wraiths in each other's arms, amid the flames of hell. Their adulterous relationship uncovered, they were murdered by Francesca's husband and Paolo's brother, Giovanni Malatesta, and banished to the second circle of hell.In the final panel of the triptych, the lovers are being blown about violently with the wind, as described by Dante's verses: The infernal storm, eternal in its rage, sweeps and drives the spirits with its blast.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


Paolo and Francesca da Rimini

Prompt: Describe the characteristics of the The Triptych and the inspiring Canto in Paolo and Francesca da Rimini's History.

Francesca was the sister-in-law of Paolo Malatesta, and both were married, but they fell in love. Their tragic adulterous story was told by Dante in his Divine Comedy, Canto V of the Inferno, and was a popular subject with Victorian artists and sculptors, especially with followers of the Pre-Raphaelite ideology, and with other writers.The triptych has several inscriptions taken from Canto V, with Rossetti bringing the story to life by writing relevant quotations in the original Italian around the edge of the composition. Its three parts read from left to right. The left-hand panel shows the adulterous kiss that condemns the lovers: staying faithful to Dante's poem, Rossetti depicts them reading about the Arthurian knight Sir Lancelot who also suffered for his forbidden love (his figure can be seen on the book's open page, dressed, like Paolo, in red and blue). The scene illustrates the following lines from Dante's text:One day we read, to pass the time away,of Lancelot, of how he fell in love;alone we were, and no suspicion near us ... then he, who never from me shall separate,at once my lips all trembling kissed.The central panel depicts two of Rossetti's literary heroes crowned with laurel: the Roman poet Virgil and the much-revered Dante himself – they regard with concern the two lovers on the right, who appear to float like wraiths in each other's arms, amid the flames of hell. Their adulterous relationship uncovered, they were murdered by Francesca's husband and Paolo's brother, Giovanni Malatesta, and banished to the second circle of hell.In the final panel of the triptych, the lovers are being blown about violently with the wind, as described by Dante's verses: The infernal storm, eternal in its rage, sweeps and drives the spirits with its blast.

Inferno (Dante)#Second Circle .28Lust.29

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti

Category:Cultural depictions of Francesca da Rimini


La Schiavona

Prompt: Focus on La Schiavona and explain the abstract.

La Schiavona ('the woman from Dalmatia'), also known as Portrait of a Lady, is a 1510–1512 portrait by Titian of an unknown woman.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: Explain the abstract of this artwork, La Schiavona.

La Schiavona ('the woman from Dalmatia'), also known as Portrait of a Lady, is a 1510–1512 portrait by Titian of an unknown woman.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: How does La Schiavona explain its abstract?

La Schiavona ('the woman from Dalmatia'), also known as Portrait of a Lady, is a 1510–1512 portrait by Titian of an unknown woman.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: In La Schiavona, how is the abstract discussed?

La Schiavona ('the woman from Dalmatia'), also known as Portrait of a Lady, is a 1510–1512 portrait by Titian of an unknown woman.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: Focus on La Schiavona and explain the Identity of the sitter.

The painting was being referred to as La Schiavona before the beginning of the seventeenth century. However, this name is traditional, given to the painting by someone in recognition of the style of her dress and her physiognomy. In reality, the lady portrayed would have been part of the nobility of the time, with a costume compatible with that of the wealthy women of the territories controlled by the Republic of Venice. Some people have tried to identify the woman as Catherine Cornaro, a hypothesis without any confirmation. Previously assigned to Giorgione, the painting is today commonly accepted as a youthful masterpiece by Titian; further evidence is provided by the absence of the modulated sweetness of the painter from Castelfranco Veneto, replaced rather by a pulsating vitality. There are also close similarities with the woman protagonist of the Miracolo del neonato, a Paduan fresco by Titian dating back to 1511.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: Explain the Identity of the sitter of this artwork, La Schiavona.

The painting was being referred to as La Schiavona before the beginning of the seventeenth century. However, this name is traditional, given to the painting by someone in recognition of the style of her dress and her physiognomy. In reality, the lady portrayed would have been part of the nobility of the time, with a costume compatible with that of the wealthy women of the territories controlled by the Republic of Venice. Some people have tried to identify the woman as Catherine Cornaro, a hypothesis without any confirmation. Previously assigned to Giorgione, the painting is today commonly accepted as a youthful masterpiece by Titian; further evidence is provided by the absence of the modulated sweetness of the painter from Castelfranco Veneto, replaced rather by a pulsating vitality. There are also close similarities with the woman protagonist of the Miracolo del neonato, a Paduan fresco by Titian dating back to 1511.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: How does La Schiavona explain its Identity of the sitter?

The painting was being referred to as La Schiavona before the beginning of the seventeenth century. However, this name is traditional, given to the painting by someone in recognition of the style of her dress and her physiognomy. In reality, the lady portrayed would have been part of the nobility of the time, with a costume compatible with that of the wealthy women of the territories controlled by the Republic of Venice. Some people have tried to identify the woman as Catherine Cornaro, a hypothesis without any confirmation. Previously assigned to Giorgione, the painting is today commonly accepted as a youthful masterpiece by Titian; further evidence is provided by the absence of the modulated sweetness of the painter from Castelfranco Veneto, replaced rather by a pulsating vitality. There are also close similarities with the woman protagonist of the Miracolo del neonato, a Paduan fresco by Titian dating back to 1511.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: In La Schiavona, how is the Identity of the sitter discussed?

The painting was being referred to as La Schiavona before the beginning of the seventeenth century. However, this name is traditional, given to the painting by someone in recognition of the style of her dress and her physiognomy. In reality, the lady portrayed would have been part of the nobility of the time, with a costume compatible with that of the wealthy women of the territories controlled by the Republic of Venice. Some people have tried to identify the woman as Catherine Cornaro, a hypothesis without any confirmation. Previously assigned to Giorgione, the painting is today commonly accepted as a youthful masterpiece by Titian; further evidence is provided by the absence of the modulated sweetness of the painter from Castelfranco Veneto, replaced rather by a pulsating vitality. There are also close similarities with the woman protagonist of the Miracolo del neonato, a Paduan fresco by Titian dating back to 1511.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: Focus on La Schiavona and explain the Description.

This composition was drastically rehandled by Titian somewhere about the year I540, the face and neck and the red drapery being entirely repainted, with the result that the colour is now rather dead and Heavy. The subject is shown three-quarter length against a plain grey background. Her curvaceous form is portrayed with exceptional realism and accuracy, and is accentuated by the wide drapery of her earth-coloured dress. The body is rotated slightly, while the head looks frontally at the viewer, in a pose of remarkable naturalness and ease. What appears to be the same woman is seen in relief (inspired by ancient cameos) on a raised section of the parapet. The lower part of the parapet is original, though the raised section appears to be a revision by Titian himself, with the drapery painted under it still being visible through subsequent layers of paint. The painting is signed TV on the parapet, which probably stands for Tiziano Vecellio.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: Explain the Description of this artwork, La Schiavona.

This composition was drastically rehandled by Titian somewhere about the year I540, the face and neck and the red drapery being entirely repainted, with the result that the colour is now rather dead and Heavy. The subject is shown three-quarter length against a plain grey background. Her curvaceous form is portrayed with exceptional realism and accuracy, and is accentuated by the wide drapery of her earth-coloured dress. The body is rotated slightly, while the head looks frontally at the viewer, in a pose of remarkable naturalness and ease. What appears to be the same woman is seen in relief (inspired by ancient cameos) on a raised section of the parapet. The lower part of the parapet is original, though the raised section appears to be a revision by Titian himself, with the drapery painted under it still being visible through subsequent layers of paint. The painting is signed TV on the parapet, which probably stands for Tiziano Vecellio.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: How does La Schiavona explain its Description?

This composition was drastically rehandled by Titian somewhere about the year I540, the face and neck and the red drapery being entirely repainted, with the result that the colour is now rather dead and Heavy. The subject is shown three-quarter length against a plain grey background. Her curvaceous form is portrayed with exceptional realism and accuracy, and is accentuated by the wide drapery of her earth-coloured dress. The body is rotated slightly, while the head looks frontally at the viewer, in a pose of remarkable naturalness and ease. What appears to be the same woman is seen in relief (inspired by ancient cameos) on a raised section of the parapet. The lower part of the parapet is original, though the raised section appears to be a revision by Titian himself, with the drapery painted under it still being visible through subsequent layers of paint. The painting is signed TV on the parapet, which probably stands for Tiziano Vecellio.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: In La Schiavona, how is the Description discussed?

This composition was drastically rehandled by Titian somewhere about the year I540, the face and neck and the red drapery being entirely repainted, with the result that the colour is now rather dead and Heavy. The subject is shown three-quarter length against a plain grey background. Her curvaceous form is portrayed with exceptional realism and accuracy, and is accentuated by the wide drapery of her earth-coloured dress. The body is rotated slightly, while the head looks frontally at the viewer, in a pose of remarkable naturalness and ease. What appears to be the same woman is seen in relief (inspired by ancient cameos) on a raised section of the parapet. The lower part of the parapet is original, though the raised section appears to be a revision by Titian himself, with the drapery painted under it still being visible through subsequent layers of paint. The painting is signed TV on the parapet, which probably stands for Tiziano Vecellio.

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: Focus on La Schiavona and explain the History.

The portrait was presented to the National Gallery in London in 1942 by Sir Francis Cook, Bt, in memory of his father Herbert, via the Art Fund – it is still in the Gallery's collection, as NG5385.From October 2009 to January 2010, La Schiavona was loaned to the Henry Moore Institute in Leeds to be shown as part of an exhibition called "Sculpture in Painting".

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: Explain the History of this artwork, La Schiavona.

The portrait was presented to the National Gallery in London in 1942 by Sir Francis Cook, Bt, in memory of his father Herbert, via the Art Fund – it is still in the Gallery's collection, as NG5385.From October 2009 to January 2010, La Schiavona was loaned to the Henry Moore Institute in Leeds to be shown as part of an exhibition called "Sculpture in Painting".

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: How does La Schiavona explain its History?

The portrait was presented to the National Gallery in London in 1942 by Sir Francis Cook, Bt, in memory of his father Herbert, via the Art Fund – it is still in the Gallery's collection, as NG5385.From October 2009 to January 2010, La Schiavona was loaned to the Henry Moore Institute in Leeds to be shown as part of an exhibition called "Sculpture in Painting".

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


La Schiavona

Prompt: In La Schiavona, how is the History discussed?

The portrait was presented to the National Gallery in London in 1942 by Sir Francis Cook, Bt, in memory of his father Herbert, via the Art Fund – it is still in the Gallery's collection, as NG5385.From October 2009 to January 2010, La Schiavona was loaned to the Henry Moore Institute in Leeds to be shown as part of an exhibition called "Sculpture in Painting".

The Burlington Magazine for Connoisseurs

Category:Paintings by Titian in the National Gallery, London


Canigiani Holy Family

Prompt: Focus on Canigiani Holy Family and explain the abstract.

The Canigiani Holy Family or Canigiani Madonna is an oil-on-wood painting by the Italian High Renaissance artist Raphael, executed circa 1507–1508.It shows mainly (l.t.r.) Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact. The oil painting was bought from the painter by the Canigiani family in Florence for their Home altar.It is part of the permanent collection of the Alte Pinakothek in Munich, Germany.Raphael’s Artistic TechniquesEarly on his life, Raphael’s drawing style was influenced by his father, Giovanni Santi, who also was a painter.  Raphael used ink as well as chalk to create his drawings.  He would use soft strokes to create lifelike images.  Raphael’s drawings covered different subject, just most were related to religion or biblical depictions.  This is the case with Canigiani Holy Family.Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion.  Raphael used the traditional printmaking technique of etching onto plates and then creating his prints on paper.  Similar to his drawings and paintings, Raphael’s paintings were also primarily about religious scenes.  Raphael was hailed as an artist who painted the most complete images.The PaintingCanigiani Holy Family is an oil painting on a wood panel.  The painting shows the Holy Family, consisting of Jesus Christ as a baby, the Virgin Mary, and Saint Joseph.  The painting focuses on the baby Jesus, with the older figures looking on.  Also present in the painting are Saint Elizabeth and a very young John the Baptist.Raphael used vivid color and lighting to show the Holy Family in the daylight, while adding perspective which brings them to the front of the image.  Depth is achieved by creating the images behind the Holy Family smaller, making them seem to be in the distance.  Daylight is achieved through the use of soft blues and whites in the sky above.  Borrowing form his history in drawing, Raphael is able to make each figure distinct from the whole.  He does this through crisp, sharp lines as well as his use of color.PatronsCanigiani Holy Family was commissioned by the Caniagini family in Florence to be placed on the altar at their home. The Caniagini family was a wealthy family involved in banking, and also had a large amount of political influence at the time. The primary patron from the family was Domenico di Bartolomeo Canigiani, who was deeply interested in the arts and supported many artists, Raphael among them. Though the painting is Italian in origin, it is currently located at the Alte Pinakothek art museum in Munich, Germany.

Category:Collection of the Alte Pinakothek


Canigiani Holy Family

Prompt: Explain the abstract of this artwork, Canigiani Holy Family.

The Canigiani Holy Family or Canigiani Madonna is an oil-on-wood painting by the Italian High Renaissance artist Raphael, executed circa 1507–1508.It shows mainly (l.t.r.) Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact. The oil painting was bought from the painter by the Canigiani family in Florence for their Home altar.It is part of the permanent collection of the Alte Pinakothek in Munich, Germany.Raphael’s Artistic TechniquesEarly on his life, Raphael’s drawing style was influenced by his father, Giovanni Santi, who also was a painter.  Raphael used ink as well as chalk to create his drawings.  He would use soft strokes to create lifelike images.  Raphael’s drawings covered different subject, just most were related to religion or biblical depictions.  This is the case with Canigiani Holy Family.Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion.  Raphael used the traditional printmaking technique of etching onto plates and then creating his prints on paper.  Similar to his drawings and paintings, Raphael’s paintings were also primarily about religious scenes.  Raphael was hailed as an artist who painted the most complete images.The PaintingCanigiani Holy Family is an oil painting on a wood panel.  The painting shows the Holy Family, consisting of Jesus Christ as a baby, the Virgin Mary, and Saint Joseph.  The painting focuses on the baby Jesus, with the older figures looking on.  Also present in the painting are Saint Elizabeth and a very young John the Baptist.Raphael used vivid color and lighting to show the Holy Family in the daylight, while adding perspective which brings them to the front of the image.  Depth is achieved by creating the images behind the Holy Family smaller, making them seem to be in the distance.  Daylight is achieved through the use of soft blues and whites in the sky above.  Borrowing form his history in drawing, Raphael is able to make each figure distinct from the whole.  He does this through crisp, sharp lines as well as his use of color.PatronsCanigiani Holy Family was commissioned by the Caniagini family in Florence to be placed on the altar at their home. The Caniagini family was a wealthy family involved in banking, and also had a large amount of political influence at the time. The primary patron from the family was Domenico di Bartolomeo Canigiani, who was deeply interested in the arts and supported many artists, Raphael among them. Though the painting is Italian in origin, it is currently located at the Alte Pinakothek art museum in Munich, Germany.

Category:Collection of the Alte Pinakothek


Canigiani Holy Family

Prompt: How does Canigiani Holy Family explain its abstract?

The Canigiani Holy Family or Canigiani Madonna is an oil-on-wood painting by the Italian High Renaissance artist Raphael, executed circa 1507–1508.It shows mainly (l.t.r.) Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact. The oil painting was bought from the painter by the Canigiani family in Florence for their Home altar.It is part of the permanent collection of the Alte Pinakothek in Munich, Germany.Raphael’s Artistic TechniquesEarly on his life, Raphael’s drawing style was influenced by his father, Giovanni Santi, who also was a painter.  Raphael used ink as well as chalk to create his drawings.  He would use soft strokes to create lifelike images.  Raphael’s drawings covered different subject, just most were related to religion or biblical depictions.  This is the case with Canigiani Holy Family.Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion.  Raphael used the traditional printmaking technique of etching onto plates and then creating his prints on paper.  Similar to his drawings and paintings, Raphael’s paintings were also primarily about religious scenes.  Raphael was hailed as an artist who painted the most complete images.The PaintingCanigiani Holy Family is an oil painting on a wood panel.  The painting shows the Holy Family, consisting of Jesus Christ as a baby, the Virgin Mary, and Saint Joseph.  The painting focuses on the baby Jesus, with the older figures looking on.  Also present in the painting are Saint Elizabeth and a very young John the Baptist.Raphael used vivid color and lighting to show the Holy Family in the daylight, while adding perspective which brings them to the front of the image.  Depth is achieved by creating the images behind the Holy Family smaller, making them seem to be in the distance.  Daylight is achieved through the use of soft blues and whites in the sky above.  Borrowing form his history in drawing, Raphael is able to make each figure distinct from the whole.  He does this through crisp, sharp lines as well as his use of color.PatronsCanigiani Holy Family was commissioned by the Caniagini family in Florence to be placed on the altar at their home. The Caniagini family was a wealthy family involved in banking, and also had a large amount of political influence at the time. The primary patron from the family was Domenico di Bartolomeo Canigiani, who was deeply interested in the arts and supported many artists, Raphael among them. Though the painting is Italian in origin, it is currently located at the Alte Pinakothek art museum in Munich, Germany.

Category:Collection of the Alte Pinakothek


Canigiani Holy Family

Prompt: In Canigiani Holy Family, how is the abstract discussed?

The Canigiani Holy Family or Canigiani Madonna is an oil-on-wood painting by the Italian High Renaissance artist Raphael, executed circa 1507–1508.It shows mainly (l.t.r.) Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact. The oil painting was bought from the painter by the Canigiani family in Florence for their Home altar.It is part of the permanent collection of the Alte Pinakothek in Munich, Germany.Raphael’s Artistic TechniquesEarly on his life, Raphael’s drawing style was influenced by his father, Giovanni Santi, who also was a painter.  Raphael used ink as well as chalk to create his drawings.  He would use soft strokes to create lifelike images.  Raphael’s drawings covered different subject, just most were related to religion or biblical depictions.  This is the case with Canigiani Holy Family.Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion.  Raphael used the traditional printmaking technique of etching onto plates and then creating his prints on paper.  Similar to his drawings and paintings, Raphael’s paintings were also primarily about religious scenes.  Raphael was hailed as an artist who painted the most complete images.The PaintingCanigiani Holy Family is an oil painting on a wood panel.  The painting shows the Holy Family, consisting of Jesus Christ as a baby, the Virgin Mary, and Saint Joseph.  The painting focuses on the baby Jesus, with the older figures looking on.  Also present in the painting are Saint Elizabeth and a very young John the Baptist.Raphael used vivid color and lighting to show the Holy Family in the daylight, while adding perspective which brings them to the front of the image.  Depth is achieved by creating the images behind the Holy Family smaller, making them seem to be in the distance.  Daylight is achieved through the use of soft blues and whites in the sky above.  Borrowing form his history in drawing, Raphael is able to make each figure distinct from the whole.  He does this through crisp, sharp lines as well as his use of color.PatronsCanigiani Holy Family was commissioned by the Caniagini family in Florence to be placed on the altar at their home. The Caniagini family was a wealthy family involved in banking, and also had a large amount of political influence at the time. The primary patron from the family was Domenico di Bartolomeo Canigiani, who was deeply interested in the arts and supported many artists, Raphael among them. Though the painting is Italian in origin, it is currently located at the Alte Pinakothek art museum in Munich, Germany.

Category:Collection of the Alte Pinakothek


Marlowe portrait

Prompt: Focus on Marlowe portrait and explain the abstract.

The putative Marlowe portrait is an unsigned portrait on wooden panel, dated 1585, which was discovered in 1952 or 1953 at Corpus Christi College, Cambridge. It has been proposed that the portrait depicts the English playwright Christopher Marlowe (1564–1593), though several scholars have suggested that this is unlikely.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Explain the abstract of this artwork, Marlowe portrait.

The putative Marlowe portrait is an unsigned portrait on wooden panel, dated 1585, which was discovered in 1952 or 1953 at Corpus Christi College, Cambridge. It has been proposed that the portrait depicts the English playwright Christopher Marlowe (1564–1593), though several scholars have suggested that this is unlikely.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: How does Marlowe portrait explain its abstract?

The putative Marlowe portrait is an unsigned portrait on wooden panel, dated 1585, which was discovered in 1952 or 1953 at Corpus Christi College, Cambridge. It has been proposed that the portrait depicts the English playwright Christopher Marlowe (1564–1593), though several scholars have suggested that this is unlikely.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: In Marlowe portrait, how is the abstract discussed?

The putative Marlowe portrait is an unsigned portrait on wooden panel, dated 1585, which was discovered in 1952 or 1953 at Corpus Christi College, Cambridge. It has been proposed that the portrait depicts the English playwright Christopher Marlowe (1564–1593), though several scholars have suggested that this is unlikely.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Focus on Marlowe portrait and explain the Discovery.

The painting was discovered in Corpus Christi College, Cambridge, in 1952 or 1953. Contradictory accounts of its discovery exist. One account dates the discovery of the portrait to late 1952, during major renovations to the college's Old Court which destroyed many ancient interiors. The wood panels had been used to support a gas heater installed in a student's room, above the room that had been assigned to Marlowe 370 years earlier. When a new heater was installed, the panels were discarded and put in a skip. The room's occupant recovered them for reuse, but noticed the dirty and badly-damaged portrait and took the pieces to the college librarian.A conflicting account states that the portrait was discovered in 1953, during renovations of the college Master's lodge. A passer-by noticed two pieces of wood amongst a pile of builder's rubble that had laid in the rain for several days, which proved to be the two parts of the portrait.The portrait's history from its 1585 creation to its 20th century rediscovery is unknown. It is not listed in an 1884 inventory of paintings held by Corpus Christi College, nor in a 1790 catalogue of Cambridge University's paintings by Robert Masters. The wood is badly split and has nail holes, suggesting that the panels had been put to various mundane uses over the years.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Explain the Discovery of this artwork, Marlowe portrait.

The painting was discovered in Corpus Christi College, Cambridge, in 1952 or 1953. Contradictory accounts of its discovery exist. One account dates the discovery of the portrait to late 1952, during major renovations to the college's Old Court which destroyed many ancient interiors. The wood panels had been used to support a gas heater installed in a student's room, above the room that had been assigned to Marlowe 370 years earlier. When a new heater was installed, the panels were discarded and put in a skip. The room's occupant recovered them for reuse, but noticed the dirty and badly-damaged portrait and took the pieces to the college librarian.A conflicting account states that the portrait was discovered in 1953, during renovations of the college Master's lodge. A passer-by noticed two pieces of wood amongst a pile of builder's rubble that had laid in the rain for several days, which proved to be the two parts of the portrait.The portrait's history from its 1585 creation to its 20th century rediscovery is unknown. It is not listed in an 1884 inventory of paintings held by Corpus Christi College, nor in a 1790 catalogue of Cambridge University's paintings by Robert Masters. The wood is badly split and has nail holes, suggesting that the panels had been put to various mundane uses over the years.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: How does Marlowe portrait explain its Discovery?

The painting was discovered in Corpus Christi College, Cambridge, in 1952 or 1953. Contradictory accounts of its discovery exist. One account dates the discovery of the portrait to late 1952, during major renovations to the college's Old Court which destroyed many ancient interiors. The wood panels had been used to support a gas heater installed in a student's room, above the room that had been assigned to Marlowe 370 years earlier. When a new heater was installed, the panels were discarded and put in a skip. The room's occupant recovered them for reuse, but noticed the dirty and badly-damaged portrait and took the pieces to the college librarian.A conflicting account states that the portrait was discovered in 1953, during renovations of the college Master's lodge. A passer-by noticed two pieces of wood amongst a pile of builder's rubble that had laid in the rain for several days, which proved to be the two parts of the portrait.The portrait's history from its 1585 creation to its 20th century rediscovery is unknown. It is not listed in an 1884 inventory of paintings held by Corpus Christi College, nor in a 1790 catalogue of Cambridge University's paintings by Robert Masters. The wood is badly split and has nail holes, suggesting that the panels had been put to various mundane uses over the years.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: In Marlowe portrait, how is the Discovery discussed?

The painting was discovered in Corpus Christi College, Cambridge, in 1952 or 1953. Contradictory accounts of its discovery exist. One account dates the discovery of the portrait to late 1952, during major renovations to the college's Old Court which destroyed many ancient interiors. The wood panels had been used to support a gas heater installed in a student's room, above the room that had been assigned to Marlowe 370 years earlier. When a new heater was installed, the panels were discarded and put in a skip. The room's occupant recovered them for reuse, but noticed the dirty and badly-damaged portrait and took the pieces to the college librarian.A conflicting account states that the portrait was discovered in 1953, during renovations of the college Master's lodge. A passer-by noticed two pieces of wood amongst a pile of builder's rubble that had laid in the rain for several days, which proved to be the two parts of the portrait.The portrait's history from its 1585 creation to its 20th century rediscovery is unknown. It is not listed in an 1884 inventory of paintings held by Corpus Christi College, nor in a 1790 catalogue of Cambridge University's paintings by Robert Masters. The wood is badly split and has nail holes, suggesting that the panels had been put to various mundane uses over the years.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Focus on Marlowe portrait and explain the Description.

The portrait measures 24 by 18 inches (61 by 46 cm) and is painted on wood panels, made from Baltic oak imported from Poland or Lithuania. It depicts a young man, with long hair and a light beard, with his arms folded. He is expensively dressed in a dark doublet, possibly velvet, with rows of golden buttons. The doublet has a zig-zag pattern made by cuts in the cloth, exposing the orange lining.The upper left hand corner of the portrait contains the date anno dni 1585, together with the age of the sitter expressed by the Latin text ætatis suæ 21, meaning of his own age 21.Below this is a Latin motto, Quod me nutrit me destruit, in English That which nourishes me destroys me.: 66  This wording has not been found in other texts, but it reflects a common Elizabethan sentiment. Author Charles Nicholl suggests that it is a version of Quod me alit me extinguit (That which feeds me extinguishes me), an Elizabethan motto which appears in the poet Samuel Daniel's 1585 work The Worthy Tract of Paulus Jovius, and later in William Shakespeare's Pericles, Prince of Tyre, c. 1607, and his Sonnet 73, 1609.The portrait has similarities to the 1588 "Grafton portrait", sometimes suggested to depict Shakespeare. According to academic Germaine Greer, the sitters are the same person.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Explain the Description of this artwork, Marlowe portrait.

The portrait measures 24 by 18 inches (61 by 46 cm) and is painted on wood panels, made from Baltic oak imported from Poland or Lithuania. It depicts a young man, with long hair and a light beard, with his arms folded. He is expensively dressed in a dark doublet, possibly velvet, with rows of golden buttons. The doublet has a zig-zag pattern made by cuts in the cloth, exposing the orange lining.The upper left hand corner of the portrait contains the date anno dni 1585, together with the age of the sitter expressed by the Latin text ætatis suæ 21, meaning of his own age 21.Below this is a Latin motto, Quod me nutrit me destruit, in English That which nourishes me destroys me.: 66  This wording has not been found in other texts, but it reflects a common Elizabethan sentiment. Author Charles Nicholl suggests that it is a version of Quod me alit me extinguit (That which feeds me extinguishes me), an Elizabethan motto which appears in the poet Samuel Daniel's 1585 work The Worthy Tract of Paulus Jovius, and later in William Shakespeare's Pericles, Prince of Tyre, c. 1607, and his Sonnet 73, 1609.The portrait has similarities to the 1588 "Grafton portrait", sometimes suggested to depict Shakespeare. According to academic Germaine Greer, the sitters are the same person.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: How does Marlowe portrait explain its Description?

The portrait measures 24 by 18 inches (61 by 46 cm) and is painted on wood panels, made from Baltic oak imported from Poland or Lithuania. It depicts a young man, with long hair and a light beard, with his arms folded. He is expensively dressed in a dark doublet, possibly velvet, with rows of golden buttons. The doublet has a zig-zag pattern made by cuts in the cloth, exposing the orange lining.The upper left hand corner of the portrait contains the date anno dni 1585, together with the age of the sitter expressed by the Latin text ætatis suæ 21, meaning of his own age 21.Below this is a Latin motto, Quod me nutrit me destruit, in English That which nourishes me destroys me.: 66  This wording has not been found in other texts, but it reflects a common Elizabethan sentiment. Author Charles Nicholl suggests that it is a version of Quod me alit me extinguit (That which feeds me extinguishes me), an Elizabethan motto which appears in the poet Samuel Daniel's 1585 work The Worthy Tract of Paulus Jovius, and later in William Shakespeare's Pericles, Prince of Tyre, c. 1607, and his Sonnet 73, 1609.The portrait has similarities to the 1588 "Grafton portrait", sometimes suggested to depict Shakespeare. According to academic Germaine Greer, the sitters are the same person.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: In Marlowe portrait, how is the Description discussed?

The portrait measures 24 by 18 inches (61 by 46 cm) and is painted on wood panels, made from Baltic oak imported from Poland or Lithuania. It depicts a young man, with long hair and a light beard, with his arms folded. He is expensively dressed in a dark doublet, possibly velvet, with rows of golden buttons. The doublet has a zig-zag pattern made by cuts in the cloth, exposing the orange lining.The upper left hand corner of the portrait contains the date anno dni 1585, together with the age of the sitter expressed by the Latin text ætatis suæ 21, meaning of his own age 21.Below this is a Latin motto, Quod me nutrit me destruit, in English That which nourishes me destroys me.: 66  This wording has not been found in other texts, but it reflects a common Elizabethan sentiment. Author Charles Nicholl suggests that it is a version of Quod me alit me extinguit (That which feeds me extinguishes me), an Elizabethan motto which appears in the poet Samuel Daniel's 1585 work The Worthy Tract of Paulus Jovius, and later in William Shakespeare's Pericles, Prince of Tyre, c. 1607, and his Sonnet 73, 1609.The portrait has similarities to the 1588 "Grafton portrait", sometimes suggested to depict Shakespeare. According to academic Germaine Greer, the sitters are the same person.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Focus on Marlowe portrait and explain the Identification with Marlowe.

The first to suggest a connection between the portrait and Christopher Marlowe was John Patrick Tuer Bury (son of Robert Gregg Bury), the college librarian and university lecturer in Modern History, who saw it soon after its discovery. Marlowe finished his BA at Corpus Christi in 1584 and began his MA studies there, and it was suggested, based on his baptism date of February 1564, that he would have been aged 21 in 1585.Bury consulted with Bruce Dickins, chair of Anglo-Saxon, G K Adams of the National Portrait Gallery, John Bakeless, an American biographer of Marlowe, Frederick S. Boas, professor of English Literature and former president of the Elizabethan Literature Society and Rosemary Freeman, reader at Birkbeck College. The portrait was confirmed to be an Elizabethan work. In March 1953, it was decided to commission the painting's restoration by the London firm of W. Holder and Son. The firm no longer exists, nor any known records about what their restoration involved.Some sources credit Calvin Hoffman, a prominent proponent of the Marlovian theory of Shakespeare authorship, with the idea that the portrait depicted Marlowe, although he only proposed this in 1955.The identification of the sitter remains uncertain. No other portrait of Marlowe is known to exist.: 214  The portrait could be of another student, though of the 27 wooden portraits the college keeps as of 2014, only 3 are known college members, all masters. Apart from "Marlowe", a further 4 of the 27 are unidentified. Alternatively, the portrait could be of a non-student as the man is not wearing the clothing prescribed for scholars – an ankle-length, dull-coloured gown – and has long hair, while scholars were required to wear their hair short; although it is known that many students at the time broke these regulations, including wearing silk and velvet.Scholars Oliver Rackham and Peter Roberts have suggested that the age on the painting does not match Marlowe's age. They argue that ætatis suæ 21 means "in his 21st year", i.e. aged 20; which, combined with Marlowe's baptism date of February 1563 in the old style dates used at the time, would require the sitter to be at least a year younger than Marlowe.Some suggest Marlowe would not have afforded to commission such a portrait as he was supported by a scholarship; although there is some indirect evidence that in 1584 Marlowe began receiving a significant additional income from an unknown source.: 118  It has been suggested it would be unlikely for the College to commission a portrait of an ordinary student, and that Marlowe was an undistinguished scholar, coming 199 out of 241 students in his BA, making this even less likely. It is also unlikely the college would have displayed a portrait of a student violating the university's own dress regulations.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Old Court at Corpus Christi College, 2010

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Explain the Identification with Marlowe of this artwork, Marlowe portrait.

The first to suggest a connection between the portrait and Christopher Marlowe was John Patrick Tuer Bury (son of Robert Gregg Bury), the college librarian and university lecturer in Modern History, who saw it soon after its discovery. Marlowe finished his BA at Corpus Christi in 1584 and began his MA studies there, and it was suggested, based on his baptism date of February 1564, that he would have been aged 21 in 1585.Bury consulted with Bruce Dickins, chair of Anglo-Saxon, G K Adams of the National Portrait Gallery, John Bakeless, an American biographer of Marlowe, Frederick S. Boas, professor of English Literature and former president of the Elizabethan Literature Society and Rosemary Freeman, reader at Birkbeck College. The portrait was confirmed to be an Elizabethan work. In March 1953, it was decided to commission the painting's restoration by the London firm of W. Holder and Son. The firm no longer exists, nor any known records about what their restoration involved.Some sources credit Calvin Hoffman, a prominent proponent of the Marlovian theory of Shakespeare authorship, with the idea that the portrait depicted Marlowe, although he only proposed this in 1955.The identification of the sitter remains uncertain. No other portrait of Marlowe is known to exist.: 214  The portrait could be of another student, though of the 27 wooden portraits the college keeps as of 2014, only 3 are known college members, all masters. Apart from "Marlowe", a further 4 of the 27 are unidentified. Alternatively, the portrait could be of a non-student as the man is not wearing the clothing prescribed for scholars – an ankle-length, dull-coloured gown – and has long hair, while scholars were required to wear their hair short; although it is known that many students at the time broke these regulations, including wearing silk and velvet.Scholars Oliver Rackham and Peter Roberts have suggested that the age on the painting does not match Marlowe's age. They argue that ætatis suæ 21 means "in his 21st year", i.e. aged 20; which, combined with Marlowe's baptism date of February 1563 in the old style dates used at the time, would require the sitter to be at least a year younger than Marlowe.Some suggest Marlowe would not have afforded to commission such a portrait as he was supported by a scholarship; although there is some indirect evidence that in 1584 Marlowe began receiving a significant additional income from an unknown source.: 118  It has been suggested it would be unlikely for the College to commission a portrait of an ordinary student, and that Marlowe was an undistinguished scholar, coming 199 out of 241 students in his BA, making this even less likely. It is also unlikely the college would have displayed a portrait of a student violating the university's own dress regulations.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Old Court at Corpus Christi College, 2010

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: How does Marlowe portrait explain its Identification with Marlowe?

The first to suggest a connection between the portrait and Christopher Marlowe was John Patrick Tuer Bury (son of Robert Gregg Bury), the college librarian and university lecturer in Modern History, who saw it soon after its discovery. Marlowe finished his BA at Corpus Christi in 1584 and began his MA studies there, and it was suggested, based on his baptism date of February 1564, that he would have been aged 21 in 1585.Bury consulted with Bruce Dickins, chair of Anglo-Saxon, G K Adams of the National Portrait Gallery, John Bakeless, an American biographer of Marlowe, Frederick S. Boas, professor of English Literature and former president of the Elizabethan Literature Society and Rosemary Freeman, reader at Birkbeck College. The portrait was confirmed to be an Elizabethan work. In March 1953, it was decided to commission the painting's restoration by the London firm of W. Holder and Son. The firm no longer exists, nor any known records about what their restoration involved.Some sources credit Calvin Hoffman, a prominent proponent of the Marlovian theory of Shakespeare authorship, with the idea that the portrait depicted Marlowe, although he only proposed this in 1955.The identification of the sitter remains uncertain. No other portrait of Marlowe is known to exist.: 214  The portrait could be of another student, though of the 27 wooden portraits the college keeps as of 2014, only 3 are known college members, all masters. Apart from "Marlowe", a further 4 of the 27 are unidentified. Alternatively, the portrait could be of a non-student as the man is not wearing the clothing prescribed for scholars – an ankle-length, dull-coloured gown – and has long hair, while scholars were required to wear their hair short; although it is known that many students at the time broke these regulations, including wearing silk and velvet.Scholars Oliver Rackham and Peter Roberts have suggested that the age on the painting does not match Marlowe's age. They argue that ætatis suæ 21 means "in his 21st year", i.e. aged 20; which, combined with Marlowe's baptism date of February 1563 in the old style dates used at the time, would require the sitter to be at least a year younger than Marlowe.Some suggest Marlowe would not have afforded to commission such a portrait as he was supported by a scholarship; although there is some indirect evidence that in 1584 Marlowe began receiving a significant additional income from an unknown source.: 118  It has been suggested it would be unlikely for the College to commission a portrait of an ordinary student, and that Marlowe was an undistinguished scholar, coming 199 out of 241 students in his BA, making this even less likely. It is also unlikely the college would have displayed a portrait of a student violating the university's own dress regulations.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Old Court at Corpus Christi College, 2010

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: In Marlowe portrait, how is the Identification with Marlowe discussed?

The first to suggest a connection between the portrait and Christopher Marlowe was John Patrick Tuer Bury (son of Robert Gregg Bury), the college librarian and university lecturer in Modern History, who saw it soon after its discovery. Marlowe finished his BA at Corpus Christi in 1584 and began his MA studies there, and it was suggested, based on his baptism date of February 1564, that he would have been aged 21 in 1585.Bury consulted with Bruce Dickins, chair of Anglo-Saxon, G K Adams of the National Portrait Gallery, John Bakeless, an American biographer of Marlowe, Frederick S. Boas, professor of English Literature and former president of the Elizabethan Literature Society and Rosemary Freeman, reader at Birkbeck College. The portrait was confirmed to be an Elizabethan work. In March 1953, it was decided to commission the painting's restoration by the London firm of W. Holder and Son. The firm no longer exists, nor any known records about what their restoration involved.Some sources credit Calvin Hoffman, a prominent proponent of the Marlovian theory of Shakespeare authorship, with the idea that the portrait depicted Marlowe, although he only proposed this in 1955.The identification of the sitter remains uncertain. No other portrait of Marlowe is known to exist.: 214  The portrait could be of another student, though of the 27 wooden portraits the college keeps as of 2014, only 3 are known college members, all masters. Apart from "Marlowe", a further 4 of the 27 are unidentified. Alternatively, the portrait could be of a non-student as the man is not wearing the clothing prescribed for scholars – an ankle-length, dull-coloured gown – and has long hair, while scholars were required to wear their hair short; although it is known that many students at the time broke these regulations, including wearing silk and velvet.Scholars Oliver Rackham and Peter Roberts have suggested that the age on the painting does not match Marlowe's age. They argue that ætatis suæ 21 means "in his 21st year", i.e. aged 20; which, combined with Marlowe's baptism date of February 1563 in the old style dates used at the time, would require the sitter to be at least a year younger than Marlowe.Some suggest Marlowe would not have afforded to commission such a portrait as he was supported by a scholarship; although there is some indirect evidence that in 1584 Marlowe began receiving a significant additional income from an unknown source.: 118  It has been suggested it would be unlikely for the College to commission a portrait of an ordinary student, and that Marlowe was an undistinguished scholar, coming 199 out of 241 students in his BA, making this even less likely. It is also unlikely the college would have displayed a portrait of a student violating the university's own dress regulations.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Old Court at Corpus Christi College, 2010

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Focus on Marlowe portrait and explain the Recent history.

In the years since its discovery, the portrait has become firmly associated with Marlowe, and it is often used to depict him. According to Nicholl, a general need to put a face on a famous name has worked in favour of the painting being accepted as a depiction of Marlowe. As of 2014, the portrait hangs in the Old Combination Room (a dining room) at Corpus Christi College, with no label identifying the sitter or artist.Actress Angelina Jolie has the painting's motto tattooed on her lower stomach. "Pro-ana" websites have also used the motto.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: Explain the Recent history of this artwork, Marlowe portrait.

In the years since its discovery, the portrait has become firmly associated with Marlowe, and it is often used to depict him. According to Nicholl, a general need to put a face on a famous name has worked in favour of the painting being accepted as a depiction of Marlowe. As of 2014, the portrait hangs in the Old Combination Room (a dining room) at Corpus Christi College, with no label identifying the sitter or artist.Actress Angelina Jolie has the painting's motto tattooed on her lower stomach. "Pro-ana" websites have also used the motto.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: How does Marlowe portrait explain its Recent history?

In the years since its discovery, the portrait has become firmly associated with Marlowe, and it is often used to depict him. According to Nicholl, a general need to put a face on a famous name has worked in favour of the painting being accepted as a depiction of Marlowe. As of 2014, the portrait hangs in the Old Combination Room (a dining room) at Corpus Christi College, with no label identifying the sitter or artist.Actress Angelina Jolie has the painting's motto tattooed on her lower stomach. "Pro-ana" websites have also used the motto.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Marlowe portrait

Prompt: In Marlowe portrait, how is the Recent history discussed?

In the years since its discovery, the portrait has become firmly associated with Marlowe, and it is often used to depict him. According to Nicholl, a general need to put a face on a famous name has worked in favour of the painting being accepted as a depiction of Marlowe. As of 2014, the portrait hangs in the Old Combination Room (a dining room) at Corpus Christi College, with no label identifying the sitter or artist.Actress Angelina Jolie has the painting's motto tattooed on her lower stomach. "Pro-ana" websites have also used the motto.

Category:Cultural depictions of Christopher Marlowe

Category:Corpus Christi College, Cambridge

Corpus Christi College, Cambridge#Old Court

Portraits of Shakespeare#Gallery: portraits claimed to be of Shakespeare painted from life

Marlowe began receiving a significant additional income from an unknown source

Old Court at Corpus Christi College, 2010

Marlovian theory of Shakespeare authorship

Elrington and Bosworth Professor of Anglo-Saxon

Samuel Daniel#1585-1591: First published work and patronage of Sir Edward Dymoke


Dos Cabezas

Prompt: Focus on Dos Cabezas and explain the abstract.

Dos Cabezas ([ˈdos kaˈβesas], "two heads") is a painting created by American artist Jean-Michel Basquiat in 1982. The double portrait resulted from Basquiat's first formal meeting with his idol, American pop artist Andy Warhol.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Category:Cultural depictions of Andy Warhol


Dos Cabezas

Prompt: Explain the abstract of this artwork, Dos Cabezas.

Dos Cabezas ([ˈdos kaˈβesas], "two heads") is a painting created by American artist Jean-Michel Basquiat in 1982. The double portrait resulted from Basquiat's first formal meeting with his idol, American pop artist Andy Warhol.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Category:Cultural depictions of Andy Warhol


Dos Cabezas

Prompt: How does Dos Cabezas explain its abstract?

Dos Cabezas ([ˈdos kaˈβesas], "two heads") is a painting created by American artist Jean-Michel Basquiat in 1982. The double portrait resulted from Basquiat's first formal meeting with his idol, American pop artist Andy Warhol.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Category:Cultural depictions of Andy Warhol


Dos Cabezas

Prompt: In Dos Cabezas, how is the abstract discussed?

Dos Cabezas ([ˈdos kaˈβesas], "two heads") is a painting created by American artist Jean-Michel Basquiat in 1982. The double portrait resulted from Basquiat's first formal meeting with his idol, American pop artist Andy Warhol.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Category:Cultural depictions of Andy Warhol


Dos Cabezas

Prompt: Focus on Dos Cabezas and explain the History.

Basquiat first met Andy Warhol when he sold him a postcard in 1979. Later, when Basquiat was selling painted sweatshirts, he went to the Factory and Warhol purchased some. "I just wanted to meet him, he was an art hero of mine," Basquiat recalled. Bruno Bischofberger became Basquiat's art dealer and organized a one-man show in his Zurich gallery in September 1982. Bischofberger, who also represented Warhol, arranged a lunch meeting between the two artists on October 4, 1982. Warhol documented the meeting in a diary entry, which was posthumously published in The Andy Warhol Diaries (1989): Down to meet Bruno Bischofberger (cab $7.50). He brought Jean-Michel Basquiat with him. He's the kid who used the name "Samo" when he used to sit on the sidewalk in Greenwich Village and paint T-shirts, and I'd give him $10 here and there…He was just one of those kids who drove me crazy. He's black but some people say he's Puerto Rican so I don't know. And then Bruno discovered him and now he’s on Easy Street. He's got a great loft on Christie Street. He was a middle-class Brooklyn kid—I mean, he went to college and things—and he was trying to be like that, painting in the Greenwich Village. And so had lunch for them and then I took a Polaroid and he went home and within two hours a painting was back, still wet, of him and me together. And I mean, just getting to Christie Street must have taken an hour. He told me his assistant painted it.Dos Cabezas, meaning "two heads" in Spanish, is based on the self-portrait Warhol took with Basquiat. The artwork ignited a close friendship between them which led to a collaboration on numerous paintings. Warhol used a Polaroid he took of Basquiat to create the silkscreen portrait Jean-Michel Basquiat (1982) using his piss painting technique. Although Basquiat and Warhol created several portraits of each other in the following years, Dos Cabezas is their only joint portrait. It sold for $7 million at Christie's post-war and contemporary evening sale in November 2010.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Category:Cultural depictions of Andy Warhol


Dos Cabezas

Prompt: Explain the History of this artwork, Dos Cabezas.

Basquiat first met Andy Warhol when he sold him a postcard in 1979. Later, when Basquiat was selling painted sweatshirts, he went to the Factory and Warhol purchased some. "I just wanted to meet him, he was an art hero of mine," Basquiat recalled. Bruno Bischofberger became Basquiat's art dealer and organized a one-man show in his Zurich gallery in September 1982. Bischofberger, who also represented Warhol, arranged a lunch meeting between the two artists on October 4, 1982. Warhol documented the meeting in a diary entry, which was posthumously published in The Andy Warhol Diaries (1989): Down to meet Bruno Bischofberger (cab $7.50). He brought Jean-Michel Basquiat with him. He's the kid who used the name "Samo" when he used to sit on the sidewalk in Greenwich Village and paint T-shirts, and I'd give him $10 here and there…He was just one of those kids who drove me crazy. He's black but some people say he's Puerto Rican so I don't know. And then Bruno discovered him and now he’s on Easy Street. He's got a great loft on Christie Street. He was a middle-class Brooklyn kid—I mean, he went to college and things—and he was trying to be like that, painting in the Greenwich Village. And so had lunch for them and then I took a Polaroid and he went home and within two hours a painting was back, still wet, of him and me together. And I mean, just getting to Christie Street must have taken an hour. He told me his assistant painted it.Dos Cabezas, meaning "two heads" in Spanish, is based on the self-portrait Warhol took with Basquiat. The artwork ignited a close friendship between them which led to a collaboration on numerous paintings. Warhol used a Polaroid he took of Basquiat to create the silkscreen portrait Jean-Michel Basquiat (1982) using his piss painting technique. Although Basquiat and Warhol created several portraits of each other in the following years, Dos Cabezas is their only joint portrait. It sold for $7 million at Christie's post-war and contemporary evening sale in November 2010.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Category:Cultural depictions of Andy Warhol


Dos Cabezas

Prompt: How does Dos Cabezas explain its History?

Basquiat first met Andy Warhol when he sold him a postcard in 1979. Later, when Basquiat was selling painted sweatshirts, he went to the Factory and Warhol purchased some. "I just wanted to meet him, he was an art hero of mine," Basquiat recalled. Bruno Bischofberger became Basquiat's art dealer and organized a one-man show in his Zurich gallery in September 1982. Bischofberger, who also represented Warhol, arranged a lunch meeting between the two artists on October 4, 1982. Warhol documented the meeting in a diary entry, which was posthumously published in The Andy Warhol Diaries (1989): Down to meet Bruno Bischofberger (cab $7.50). He brought Jean-Michel Basquiat with him. He's the kid who used the name "Samo" when he used to sit on the sidewalk in Greenwich Village and paint T-shirts, and I'd give him $10 here and there…He was just one of those kids who drove me crazy. He's black but some people say he's Puerto Rican so I don't know. And then Bruno discovered him and now he’s on Easy Street. He's got a great loft on Christie Street. He was a middle-class Brooklyn kid—I mean, he went to college and things—and he was trying to be like that, painting in the Greenwich Village. And so had lunch for them and then I took a Polaroid and he went home and within two hours a painting was back, still wet, of him and me together. And I mean, just getting to Christie Street must have taken an hour. He told me his assistant painted it.Dos Cabezas, meaning "two heads" in Spanish, is based on the self-portrait Warhol took with Basquiat. The artwork ignited a close friendship between them which led to a collaboration on numerous paintings. Warhol used a Polaroid he took of Basquiat to create the silkscreen portrait Jean-Michel Basquiat (1982) using his piss painting technique. Although Basquiat and Warhol created several portraits of each other in the following years, Dos Cabezas is their only joint portrait. It sold for $7 million at Christie's post-war and contemporary evening sale in November 2010.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Category:Cultural depictions of Andy Warhol