What kind of animal is examining the title character in Henri Rousseau's painting, 'The Sleeping Gypsy'?
"although a controversy arose over whether the painting was a forgery. It was acquired by art historian Alfred H. Barr Jr. for the New York Museum of Modern Art. Rousseau described his painting as follows: ""A wandering Negress, a mandolin player, lies with her jar beside her (a vase with drinking water), overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic."" The Sleeping Gypsy The Sleeping Gypsy (French: ""La Bohémienne endormie"") is an 1897 oil painting by French Naïve artist"
"the years. ""Tiger in a Tropical Storm (Surprised!)"" was exhibited in 1891, and Rousseau received his first serious review when the young artist Félix Vallotton wrote: ""His tiger surprising its prey ought not to be missed; it's the alpha and omega of painting."" Yet it was more than a decade before Rousseau returned to depicting his vision of jungles. In 1893, Rousseau moved to a studio in Montparnasse where he lived and worked until his death in 1910. In 1897, he produced one of his most famous paintings, ""La Bohémienne endormie"" (""The Sleeping Gypsy""). In 1905, Rousseau's large jungle scene"
"lion bites deeply into the neck of an antelope. Other animals are visible in the dense undergrowth: a panther watches from the right, an owl stares out of the background holding a bloody strand of meat in its beak in the centre, with a second bird to its left, and dark ape-like shape with gimlet eye lurks to the left. Rousseau based the central pair of animals on a diorama of stuffed animals at the Paris Muséum national d'histoire naturelle, entitled ""Senegal Lion Devouring an Antelope"". Rousseau's first jungle painting, ""Tiger in a Tropical Storm"", was rejected by the Académie"
"hoping for a divine intervention that will never come. The vast swath of ""sky"" which makes up the bulk of the picture intensifies the feeling of the dog's isolation and the hopelessness of its situation. Others see the dog as cautiously raising its head above the black mass, afraid of something outside the painting's field of view, or perhaps an image of abandonment, loneliness, and neglect. Robert Hughes says ""We do not know what it means, but its pathos moves us on a level below narrative."" Goya's influence is apparent in the dog in Pierre Bonnard's 1910 ""The Red-Checkered Tablecloth"","
"and tuna, to freshwater fish such as trout and carp. Birds such as partridges, pheasants and ducks, and mammals such as deer and wild boar, are among the terrestrial game animals most often hunted for sport and for food. Animals, often mammals but including fish and insects among other groups, have been the subjects of art from the earliest times, both historical, as in Ancient Egypt, and prehistoric, as in the cave paintings at Lascaux and other sites in the Dordogne, France and elsewhere. Major animal paintings include Albrecht Dürer's 1515 ""The Rhinoceros"", and George Stubbs's c. 1762 horse portrait"
"in the Dordogne, France and elsewhere. Major animal paintings include Albrecht Dürer's 1515 ""The Rhinoceros"", George Stubbs's c. 1762 horse portrait ""Whistlejacket"", Edwin Landseer's 1851 ""The Monarch of the Glen"", and Henri Rousseau's 1891 tiger in an imaginary landscape, ""Surprised!"". Mammals from mice and foxes to elephants play a wide variety of roles in literature and media including photography and film. Mammals including cattle, deer, horses, lions and wolves, along with creatures derived from them, such as werewolves, figure in mythology and religion. Jacques Cauvin has argued that Neolithic animal symbols, with early art depicting figures such as bull gods,"
"thought to represent eternal life. The background reveals several animals that would have been exotic to contemporaneous Europeans, including a giraffe, an elephant, and a lion that has killed and is about to devour his prey. In the foreground, from a large hole in the ground, emerge birds and winged animals, some of which are realistic, some fantastic. Behind a fish, a person clothed in a short-sleeved hooded jacket and with a duck's beak holds an open book as if reading. To the left of the area a cat holds a small lizard-like creature in its jaws. Belting observes that,"
"bulldog pup asleep near the workmen, implied to be a pet of one of the labourers. Finally on the upper central portion of the painting there is a large hunting dog owned by the most wealthy upper-class man and woman on the horses. This dog is purely bred to help hunt and the only people that are wealthy enough to go hunting, for game or sport. In the far background a dog is seen yapping at horses pulling a carriage, which is about to turn into the main street, hinting at potential disorder to come. Animals are also referred to"
"become confused. Their bodies form an upside down triangle and form, along with the bodies of the characters, a chiasmus (heifer, human, human, heifer) that appeals to the eye. The background is in fact a foreshadow of the murder; the colours of the sky and the bushes are dark, and three of the heifers are looking at the spectator. Mercury, disguised as a barefooted young shepherd with a straw hat, is gazing at Argus (who, unlike the myth, has only two eyes) and is about to strike a lethal blow. Argus is asleep, his hand on his stick. Argus' dog"
"The Gypsy Girl The Gypsy Girl (sometimes erroneously referred to as ""Malle Babbe"") is a painting by the Dutch Golden Age painter Frans Hals, painted in 1628 and now in the Louvre Museum. It is a tronie, a study of facial expression and unusual costume, rather than a commissioned portrait. The display of cleavage was not a common feature of costume seen in public in Hals' time and place. This painting was catalogued by Hofstede de Groot in 1910, who wrote ""119. THE GYPSY GIRL. B. 41; M. 263 - Half-length; life size. A laughing gipsy girl, seen almost in"
"and the floor. The carpet on the table is divided into compartments, which are partly vermilion red and partly purple red, and shield-shaped. The dark blue color of the borders on the carpet are relatively unusual. The dog in the painting could be a Bolognese. Hung in the reception room of Hinlopen's home, the ""Visit to the Nursery"" thus alluded to his powerful role in local politics. Gabriël Metsu Gabriël Metsu (1629–1667) was a Dutch painter of history paintings, still lifes, portraits, and genre works. He was ""a highly eclectic artist, who did not adhere to a consistent style, technique,"
"two Indian servants, along with a stag it was supposed to prey upon. The 1896 painting ""The Caress"", by the 19th-century Belgian symbolist painter Fernand Khnopff, is a representation of the myth of Oedipus and the Sphinx. It portrays a creature with a woman's head and a cheetah's body (often misidentified as a leopard's). The Bill Thomas Cheetah American sports/racing car, a Chevrolet-based coupe first designed and driven in 1963, was an attempt to challenge Carroll Shelby's Shelby Cobra in American sports car competition of the 1960s era. Due to only two dozen or fewer chassis ever being built, with"
"well distinguishable spotted coloration pattern. Because of the specimen's steeped profile, it is thought that the painting was originally meant to represent a cave bear, but was modified as a hyena. In Lascaux, a red and black rock painting of a hyena is present in the part of the cave known as the Diverticule axial, and is depicted in profile, with four limbs, showing an animal with a steep back. The body and the long neck have spots, including the flanks. An image on a cave in Ariège shows an incompletely outlined and deeply engraved figure, representing a part of"
"well distinguishable spotted coloration pattern. Because of the specimen's steeped profile, it is thought that the painting was originally meant to represent a cave bear, but was modified as a hyena. In Lascaux, a red and black rock painting of a hyena is present in the part of the cave known as the Diverticule axial, and is depicted in profile, with four limbs, showing an animal with a steep back. The body and the long neck have spots, including the flanks. An image on a cave in Ariège shows an incompletely outlined and deeply engraved figure, representing a part of"
"tower. There are two rabbits nearby, usually symbols of fecundity or lust in the Renaissance. The landscape behind the unclothed figure stretches downhill, with a village dominated by a church tower and steeple on the far side of water. Two men on horses are hunting a hare or outsized rabbit with fast lurcher-type dogs, and a flock of sheep are apparently tended by a shepherd, with a pair of lovers sitting nearby. There have been a number of conflicting interpretations of the painting. Their starting point is identify the purpose of the painting, which most interpretations in recent decades see"
"chickens, a dog, a goat, a rabbit, snails, insects and lizards, most isolated and most of them placed on any object that ago as a display on pedestals, the possibility of union between the object and animal piece by Braque ""says justification"" and get moving among the other elements of the work depicted. The building of the house includes the crevices and cracks in the plastered wall. In the center of the painting is a large eucalyptus born of a black circle, which contrasts with the white circle representing the sun from the sky. All elements of this painting, animals"
"The Dream (Rousseau painting) The Dream (French: ""Le Rêve"", occasionally also known as ""Le Songe"" or ""Rêve exotique"") is a large oil-on-canvas painting created by Henri Rousseau in 1910, one of more than 25 Rousseau paintings with a jungle theme. His last completed work, it was first exhibited at the Salon des Indépendants from 18 March to 1 May 1910, a few months before his death on 2 September 1910. Rousseau's earlier works had received a negative reception, but poet and critic Guillaume Apollinaire remarked on its debut: ""The picture radiates beauty, that is indisputable. I believe nobody will laugh"
"The Hireling Shepherd The Hireling Shepherd (1851) is a painting by the Pre-Raphaelite artist William Holman Hunt. It represents a shepherd neglecting his flock in favour of an attractive country girl to whom he shows a death's-head hawkmoth. The meaning of the image has been much debated. Hunt painted the picture when he was living and working in close collaboration with John Everett Millais, who was painting ""Ophelia"" at the same time near the Hogsmill River near Ewell, Surrey. Both paintings depict English rural scenes, the innocence of which is disturbed by subtle but profoundly threatening violations of natural harmony."
"and explicit. He abandoned the theme of the crucifixion for the following 12 years, not returning to it until the more loosely based, but equally bleak, triptych ""Three Studies for a Crucifixion"". The painting is housed in the Stedelijk Van Abbemuseum in Eindhoven, Netherlands. The upper creature may be a dog or a cat. Blood pours out of its mouth onto the head and body of its prey, a chimera rendered as owl-like with human facial characteristics. The prey unsuccessfully struggles to flee from its captor. The lower figure's human aspect is most notable in the details of its mouth"
"The Phoenix II. The Hoopoe III. The Siren IV. The Horsefly V. The Onocentaur Fragment B: I. The Hydra II. The Goat III. The Wild Ass IV. The Monkey V. The Heron VI. The Coot VII. The Panther VIII. The Whale IX. The Partridge X. The Onocentaur XI. The Weasel XII. The Asp XIII. The Turtle Dove XIV. The Deer XV. The Salamander XVI. The Kite XVII. The Boar XVIII. The Night Heron XIX. The Elephant Latin versions of the Physiologus often contained a myriad of entries that ranged from exotic quadrupeds to mythical beasts to birds, trees and stones."
"The Shepherdess The Shepherdess (), also known as The Little Shepherdess is a painting by William-Adolphe Bouguereau completed in 1889. The title is taken from the Southern French dialect. The painting depicts an idyllic, pastoral scene of a lone young woman in peasant attire posed for the artist, balancing a stick (likely her crook) across her shoulders, standing barefooted in the foreground. In the background are oxen grazing in the field. It is one of many paintings by Bouguereau depicting shepherdesses, including one of the same name created in 1881. The subject is a model employed by Bouguereau for this"
"its space. The door-tops were carved with children representing the four Seasons, the representation of which is preserved by photographs of plaster models, molded on the originals (Vente Sardou). This central room had views of the flower beds by three rectangular windows (preserved bays). At its creation, it is lined with molded woodwork. On the mantelpiece was a copy by the David of Dominiquin, Louis XIV, particularly fond of this painting. Two paintings were ordered from the side exits: 1. a dog, and a greyhound, on the front in the middle of the game, scattered on the ground ducks partridges"
"the painting, a cinnamon colored greyhound with lively eyes, whose head reaches the height of the child’s hand. The landscape is represented by the presence of an oak that accompanies the figure. One appreciates the forest of Pardo and in the background the blue mountains of Madrid, in the distance. The sky is gray, as if it were an autumn day, and it is full of clouds. The critics agree in assuring that the head of the prince is an example of the skill of the painter. Prince Balthasar Charles as a Hunter Prince Balthasar Charles as a Hunter is"
"the horse appears to be rearing away from an unseen attacker. The turning figure on a rearing horse is derived from the large early Rubens ""Saint George"" (Museo del Prado, 1605–07), though there the view is from the side. Géricault would continue to move away from classicism, as exemplified in his later masterpiece ""The Raft of the Medusa"" (1818–19). The Charging Chasseur The Charging Chasseur, or An Officer of the Imperial Horse Guards Charging is an oil painting on canvas of about 1812 by the French painter Théodore Géricault, portraying a mounted Napoleonic cavalry officer who is ready to attack."
"some evidence that Millais originally intended the painting to be satirical - an attack on pampered officers who were allowed to go home for so-called ""urgent private affairs"", while ordinary soldiers were forced to live in poor conditions in the Crimea. When the war ended, the satire seemed obsolete, so he changed it to a portrayal of a wounded officer recuperating at home. The officer is depicted lying with an Irish wolfhound at his feet, while his wife rests on the sofa, and partly on his lap; behind her head a large myrtle bush sprouts, a traditional symbol of marital"
"The Snake Charmer (Rousseau) The Snake Charmer (French: ""La Charmeuse de Serpents"") is a 1907 oil painting by French Naïve artist Henri Rousseau (1844–1910). It is a depiction of a woman with glowing eyes playing a flute in the moonlight by the edge of a dark jungle with a snake extending toward her from a nearby tree. ""The Snake Charmer"" was commissioned by Berthe, Comtesse de Delaunay, the mother of artist Robert Delaunay. It was Rousseau's first large commission and was exhibited in the 1907 Autumn Salon. Because Rousseau never traveled outside of France, the exotic plants in the painting"
"a lion, a goat, and a dragon, the last one attached to its tail. The chimera romped about Lycia, spreading havoc, until slain by the hero Bellerophon on his winged steed, the Pegasus. In the Middle Ages, however, the chimera took a new meaning, representing the perverse forces of the Devil as in Dante’s Inferno and, later, hypocrisy and fraud, as in the Iconologia of Cesare Ripa.¹ In France, une chimère had the additional idiomatic meaning of an illusion or delusion; all these various connotations no doubt influenced Moreau, who began no less than half a dozen paintings with variations"
"on his ""The Hireling Shepherd"" nearby. The flowers shown floating on the river were chosen to correspond with Shakespeare's description of Ophelia's garland. They also reflect the Victorian interest in the ""language of flowers"", according to which each flower carries a symbolic meaning. The prominent red poppy—not mentioned by Shakespeare's description of the scene—represents sleep and death. At an early stage in the painting's creation, Millais painted a water vole—which an assistant had fished out of the Hogsmill—paddling next to Ophelia. In December 1851, he showed the unfinished painting to Holman Hunt's relatives. He recorded in his diary, ""Hunt's uncle"
"each other and a third plays with a swing. Several details are directly inspired by the work of Peter Paul Rubens - the musician, his neighbour, the shepherd embracing the woman next to him and the dog in the foreground. The affected character of the scene is heightened by the presence of a real shepherd, whose sheep graze in the far right background, almost hidden by bushes. Overall the painting transposes French pastoral poetry of the time into painted form. It refers to Poussin's ""Bergers d’Arcadie"", but this is misleading since the pastoral paintings by Poussin show a mythological Arcadia"
"in the inclusion of bloodshot eyes. The dragon is usually included as a reference to Saint Sylvester. Similarly, the pig in the bottom right is a common symbol of Saint Anthony Abbot, representing gluttony. A highly debated animal is the white dove which is depicted drinking from a steam in the very bottom of the painting. The dove is usually used to represent the Holy Spirit, however the style of this dove does not resemble any of the usual marks of the Holy Spirit. Herbert Friedmann has theorized that the dove is instead a symbol of the twin sister of"
"Plath's 1957 poem ""Snakecharmer"" and Willard Elliot's 1975 composition ""The Snake Charmer for Alto Flute and Orchestra"" were inspired by Rousseau's painting. The Snake Charmer (Rousseau) The Snake Charmer (French: ""La Charmeuse de Serpents"") is a 1907 oil painting by French Naïve artist Henri Rousseau (1844–1910). It is a depiction of a woman with glowing eyes playing a flute in the moonlight by the edge of a dark jungle with a snake extending toward her from a nearby tree. ""The Snake Charmer"" was commissioned by Berthe, Comtesse de Delaunay, the mother of artist Robert Delaunay. It was Rousseau's first large"
"poultry yard at his house, but visited the country houses of his patrons where he could study more exotic species. It was said that he had trained a rooster to stand still on command, so that he could paint it without interruption. In this picture, alongside the great white pelican are species of wild fowl and domesticated duck, among them a Eurasian teal, common merganser, red-breasted goose, Eurasian wigeon, common shelduck, muscovy duck, brant goose, smew, Egyptian goose, and northern pintail. On the far side of the pool are also large birds from different continents: a southern cassowary, black crowned"
"model was a gypsy. Girls painted by Hals who are wearing similar chemises: The Gypsy Girl The Gypsy Girl (sometimes erroneously referred to as ""Malle Babbe"") is a painting by the Dutch Golden Age painter Frans Hals, painted in 1628 and now in the Louvre Museum. It is a tronie, a study of facial expression and unusual costume, rather than a commissioned portrait. The display of cleavage was not a common feature of costume seen in public in Hals' time and place. This painting was catalogued by Hofstede de Groot in 1910, who wrote ""119. THE GYPSY GIRL. B. 41;"