subsection

牛乳を注ぐ女

Bonafoux, Pascal, and Johannes Vermeer van Delft. Vermeer. New York: Konecky & Konecky, 1992.   Cant, Serena, and Jan Vermeer van Delft. Vermeer and His World, 1632-1675. London: Quercus, 2009.   Franits, Wayne E. The Cambridge Companion to Vermeer. Cambridge: Cambridge University Press, 2001.   Franits, Wayne E. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, Conn: Yale University Press, 2004.   Gaskell, Ivan, and Michiel Jonker. Vermeer Studies: [Proceedings of the Symposia "New Vermer Studies" Held in 1995 in Washington, and in 1996 in The Hague]. Washington: National Gallery of Art, 1998. Vol. 55.   Gowing, wrence, and Johannes Vermeer. Vermeer. Berkeley, Calif: University of California Press, 1997.   Henderson, Jasper, Victor Schiferli, and Lynne Richards. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.   - Translated from the Dutch from Lynne Richards. Koningsberger, Hans. The World of Vermeer, 1632-1675. Time-Life Library of Art series. Amsterdam: Time-Life Books, 1985.   Metropolitan Museum of Art , and Liedtke, Walter A. The Milkmaid by Johannes Vermeer / Walter Liedtke. New York: The Metropolitan Museum of Art, 2009   - 2009 exhibition catalogue Plomp, Michiel, et al. Vermeer and the Delft School / Walter Liedtke. New York : The Metropolitan Museum of Art, 2001.    - 2001 exhibition catalog Pollock, Griselda. Differencing the Canon Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999.   Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?" Bulletin Van Het Rijksmuseum. 46, no. 2-3: 275-278.   Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987.   Vermeer, Johannes, and Taco Dibbits. Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007. Tokyo: Tokyo Shimbun, 2007.  - 2007 exhibition catalog Wheelock, Arthur K. Vermeer & the Art of Painting. New Haven: Yale University Press, 1995.   Wheelock, Arthur K., and Johannes Vermeer. Vermeer: The Complete Works. New York: H.N. Abrams, 1997.

Prompt: 牛乳を注ぐ女の説明、解説におけるモノグラフの特徴を説明してください。英語で出力して下さい。

Amsterdam
Delft
Johannes Vermeer
Metropolitan Museum of Art
Milkmaid
National Gallery
National Gallery of Art
Rijksmuseum
Rijksmuseum
The Embarrassment of Riches
Walter Liedtke
Yale University Press


subsection

牛乳を注ぐ女

Liedtke, Walter.  Liedtke, Walter.  Lopate, Leonard.

Prompt: 牛乳を注ぐ女の文脈で、マルチメディアと説明、解説を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

Liedtke, Walter.  Liedtke, Walter.  Lopate, Leonard.

Prompt: 牛乳を注ぐ女の説明、解説に関するマルチメディアを説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

Liedtke, Walter.  Liedtke, Walter.  Lopate, Leonard.

Prompt: 牛乳を注ぐ女では、どのように説明、解説のマルチメディアが説明されていますか？英語で出力して下さい。


subsection

牛乳を注ぐ女

Liedtke, Walter.  Liedtke, Walter.  Lopate, Leonard.

Prompt: 牛乳を注ぐ女の説明、解説におけるマルチメディアの特徴を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens.  Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so.In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America.  Liedtke offers as an example Vermeer's contemporary, Samuel Pepys, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by  Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.In Dutch, Het Melkmeisje is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid"  has gained a negative connotation that is not present in its diminutive form —hence the use of the more friendly title for the work, used by the Rijksmuseum and others.

Prompt: 牛乳を注ぐ女の文脈で、オランダのメイドの図像学と参照を説明してください。英語で出力して下さい。

Delft
Milkmaid
Pieter de Hooch
Pieter van Ruijven
Rijksmuseum
Rijksmuseum
Samuel Pepys


subsection

牛乳を注ぐ女

The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens.  Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so.In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America.  Liedtke offers as an example Vermeer's contemporary, Samuel Pepys, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by  Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.In Dutch, Het Melkmeisje is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid"  has gained a negative connotation that is not present in its diminutive form —hence the use of the more friendly title for the work, used by the Rijksmuseum and others.

Prompt: 牛乳を注ぐ女の参照に関するオランダのメイドの図像学を説明してください。英語で出力して下さい。

Delft
Milkmaid
Pieter de Hooch
Pieter van Ruijven
Rijksmuseum
Rijksmuseum
Samuel Pepys


subsection

牛乳を注ぐ女

The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens.  Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so.In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America.  Liedtke offers as an example Vermeer's contemporary, Samuel Pepys, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by  Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.In Dutch, Het Melkmeisje is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid"  has gained a negative connotation that is not present in its diminutive form —hence the use of the more friendly title for the work, used by the Rijksmuseum and others.

Prompt: 牛乳を注ぐ女では、どのように参照のオランダのメイドの図像学が説明されていますか？英語で出力して下さい。

Delft
Milkmaid
Pieter de Hooch
Pieter van Ruijven
Rijksmuseum
Rijksmuseum
Samuel Pepys


subsection

牛乳を注ぐ女

The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens.  Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so.In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America.  Liedtke offers as an example Vermeer's contemporary, Samuel Pepys, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by  Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.In Dutch, Het Melkmeisje is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid"  has gained a negative connotation that is not present in its diminutive form —hence the use of the more friendly title for the work, used by the Rijksmuseum and others.

Prompt: 牛乳を注ぐ女の参照におけるオランダのメイドの図像学の特徴を説明してください。英語で出力して下さい。

Delft
Milkmaid
Pieter de Hooch
Pieter van Ruijven
Rijksmuseum
Rijksmuseum
Samuel Pepys


subsection

牛乳を注ぐ女

According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.

Prompt: 牛乳を注ぐ女の文脈で、物語的要素と参照を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.

Prompt: 牛乳を注ぐ女の参照に関する物語的要素を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.

Prompt: 牛乳を注ぐ女では、どのように参照の物語的要素が説明されていますか？英語で出力して下さい。


subsection

牛乳を注ぐ女

According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.

Prompt: 牛乳を注ぐ女の参照における物語的要素の特徴を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art.Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing.""Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "pointillé pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."Vermeer painted over two items originally in the painting. One was a large wall map  behind the upper part of the woman's body.  He originally placed a large, conspicuous clothes basket  near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone  on the wall behind the foot warmer. The basket was later discovered with an X-ray. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus."[I]ts rustic immediacy differs from Vermeer's later paintings," according to neri. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."

Prompt: 牛乳を注ぐ女の文脈で、構成戦略と参照を説明してください。英語で出力して下さい。

Delft
Girl with a Pearl Earring
Metropolitan Museum of Art
Milkmaid
X-ray


subsection

牛乳を注ぐ女

An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art.Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing.""Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "pointillé pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."Vermeer painted over two items originally in the painting. One was a large wall map  behind the upper part of the woman's body.  He originally placed a large, conspicuous clothes basket  near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone  on the wall behind the foot warmer. The basket was later discovered with an X-ray. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus."[I]ts rustic immediacy differs from Vermeer's later paintings," according to neri. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."

Prompt: 牛乳を注ぐ女の参照に関する構成戦略を説明してください。英語で出力して下さい。

Delft
Girl with a Pearl Earring
Metropolitan Museum of Art
Milkmaid
X-ray


subsection

牛乳を注ぐ女

An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art.Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing.""Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "pointillé pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."Vermeer painted over two items originally in the painting. One was a large wall map  behind the upper part of the woman's body.  He originally placed a large, conspicuous clothes basket  near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone  on the wall behind the foot warmer. The basket was later discovered with an X-ray. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus."[I]ts rustic immediacy differs from Vermeer's later paintings," according to neri. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."

Prompt: 牛乳を注ぐ女では、どのように参照の構成戦略が説明されていますか？英語で出力して下さい。

Delft
Girl with a Pearl Earring
Metropolitan Museum of Art
Milkmaid
X-ray


subsection

牛乳を注ぐ女

An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art.Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing.""Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "pointillé pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."Vermeer painted over two items originally in the painting. One was a large wall map  behind the upper part of the woman's body.  He originally placed a large, conspicuous clothes basket  near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone  on the wall behind the foot warmer. The basket was later discovered with an X-ray. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus."[I]ts rustic immediacy differs from Vermeer's later paintings," according to neri. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."

Prompt: 牛乳を注ぐ女の参照における構成戦略の特徴を説明してください。英語で出力して下さい。

Delft
Girl with a Pearl Earring
Metropolitan Museum of Art
Milkmaid
X-ray


subsection

牛乳を注ぐ女

This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine  where other painters typically used the much cheaper azurite. Along with the ultramarine, lead-tin-yellow is also a dominant color in an exceptionally luminous work . Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used white lead, umber and charcoal black. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one  reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane  is pushed inward within its frame.The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have snapped to get perspective lines, Liedtke said in a 2009 interview.The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a glaze  of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.

Prompt: 牛乳を注ぐ女の文脈で、技法と材料と参照を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine  where other painters typically used the much cheaper azurite. Along with the ultramarine, lead-tin-yellow is also a dominant color in an exceptionally luminous work . Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used white lead, umber and charcoal black. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one  reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane  is pushed inward within its frame.The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have snapped to get perspective lines, Liedtke said in a 2009 interview.The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a glaze  of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.

Prompt: 牛乳を注ぐ女の参照に関する技法と材料を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine  where other painters typically used the much cheaper azurite. Along with the ultramarine, lead-tin-yellow is also a dominant color in an exceptionally luminous work . Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used white lead, umber and charcoal black. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one  reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane  is pushed inward within its frame.The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have snapped to get perspective lines, Liedtke said in a 2009 interview.The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a glaze  of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.

Prompt: 牛乳を注ぐ女では、どのように参照の技法と材料が説明されていますか？英語で出力して下さい。


subsection

牛乳を注ぐ女

This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine  where other painters typically used the much cheaper azurite. Along with the ultramarine, lead-tin-yellow is also a dominant color in an exceptionally luminous work . Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used white lead, umber and charcoal black. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one  reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane  is pushed inward within its frame.The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have snapped to get perspective lines, Liedtke said in a 2009 interview.The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a glaze  of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.

Prompt: 牛乳を注ぐ女の参照における技法と材料の特徴を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

Bonafoux, Pascal, and Johannes Vermeer van Delft. Vermeer. New York: Konecky & Konecky, 1992.   Cant, Serena, and Jan Vermeer van Delft. Vermeer and His World, 1632-1675. London: Quercus, 2009.   Franits, Wayne E. The Cambridge Companion to Vermeer. Cambridge: Cambridge University Press, 2001.   Franits, Wayne E. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, Conn: Yale University Press, 2004.   Gaskell, Ivan, and Michiel Jonker. Vermeer Studies: [Proceedings of the Symposia "New Vermer Studies" Held in 1995 in Washington, and in 1996 in The Hague]. Washington: National Gallery of Art, 1998. Vol. 55.   Gowing, wrence, and Johannes Vermeer. Vermeer. Berkeley, Calif: University of California Press, 1997.   Henderson, Jasper, Victor Schiferli, and Lynne Richards. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.   - Translated from the Dutch from Lynne Richards. Koningsberger, Hans. The World of Vermeer, 1632-1675. Time-Life Library of Art series. Amsterdam: Time-Life Books, 1985.   Metropolitan Museum of Art , and Liedtke, Walter A. The Milkmaid by Johannes Vermeer / Walter Liedtke. New York: The Metropolitan Museum of Art, 2009   - 2009 exhibition catalogue Plomp, Michiel, et al. Vermeer and the Delft School / Walter Liedtke. New York : The Metropolitan Museum of Art, 2001.    - 2001 exhibition catalog Pollock, Griselda. Differencing the Canon Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999.   Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?" Bulletin Van Het Rijksmuseum. 46, no. 2-3: 275-278.   Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987.   Vermeer, Johannes, and Taco Dibbits. Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007. Tokyo: Tokyo Shimbun, 2007.  - 2007 exhibition catalog Wheelock, Arthur K. Vermeer & the Art of Painting. New Haven: Yale University Press, 1995.   Wheelock, Arthur K., and Johannes Vermeer. Vermeer: The Complete Works. New York: H.N. Abrams, 1997.

Prompt: 牛乳を注ぐ女の文脈で、モノグラフと参照を説明してください。英語で出力して下さい。

Amsterdam
Delft
Johannes Vermeer
Metropolitan Museum of Art
Milkmaid
National Gallery
National Gallery of Art
Rijksmuseum
Rijksmuseum
The Embarrassment of Riches
Walter Liedtke
Yale University Press


subsection

牛乳を注ぐ女

Bonafoux, Pascal, and Johannes Vermeer van Delft. Vermeer. New York: Konecky & Konecky, 1992.   Cant, Serena, and Jan Vermeer van Delft. Vermeer and His World, 1632-1675. London: Quercus, 2009.   Franits, Wayne E. The Cambridge Companion to Vermeer. Cambridge: Cambridge University Press, 2001.   Franits, Wayne E. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, Conn: Yale University Press, 2004.   Gaskell, Ivan, and Michiel Jonker. Vermeer Studies: [Proceedings of the Symposia "New Vermer Studies" Held in 1995 in Washington, and in 1996 in The Hague]. Washington: National Gallery of Art, 1998. Vol. 55.   Gowing, wrence, and Johannes Vermeer. Vermeer. Berkeley, Calif: University of California Press, 1997.   Henderson, Jasper, Victor Schiferli, and Lynne Richards. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.   - Translated from the Dutch from Lynne Richards. Koningsberger, Hans. The World of Vermeer, 1632-1675. Time-Life Library of Art series. Amsterdam: Time-Life Books, 1985.   Metropolitan Museum of Art , and Liedtke, Walter A. The Milkmaid by Johannes Vermeer / Walter Liedtke. New York: The Metropolitan Museum of Art, 2009   - 2009 exhibition catalogue Plomp, Michiel, et al. Vermeer and the Delft School / Walter Liedtke. New York : The Metropolitan Museum of Art, 2001.    - 2001 exhibition catalog Pollock, Griselda. Differencing the Canon Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999.   Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?" Bulletin Van Het Rijksmuseum. 46, no. 2-3: 275-278.   Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987.   Vermeer, Johannes, and Taco Dibbits. Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007. Tokyo: Tokyo Shimbun, 2007.  - 2007 exhibition catalog Wheelock, Arthur K. Vermeer & the Art of Painting. New Haven: Yale University Press, 1995.   Wheelock, Arthur K., and Johannes Vermeer. Vermeer: The Complete Works. New York: H.N. Abrams, 1997.

Prompt: 牛乳を注ぐ女の参照に関するモノグラフを説明してください。英語で出力して下さい。

Amsterdam
Delft
Johannes Vermeer
Metropolitan Museum of Art
Milkmaid
National Gallery
National Gallery of Art
Rijksmuseum
Rijksmuseum
The Embarrassment of Riches
Walter Liedtke
Yale University Press


subsection

牛乳を注ぐ女

Bonafoux, Pascal, and Johannes Vermeer van Delft. Vermeer. New York: Konecky & Konecky, 1992.   Cant, Serena, and Jan Vermeer van Delft. Vermeer and His World, 1632-1675. London: Quercus, 2009.   Franits, Wayne E. The Cambridge Companion to Vermeer. Cambridge: Cambridge University Press, 2001.   Franits, Wayne E. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, Conn: Yale University Press, 2004.   Gaskell, Ivan, and Michiel Jonker. Vermeer Studies: [Proceedings of the Symposia "New Vermer Studies" Held in 1995 in Washington, and in 1996 in The Hague]. Washington: National Gallery of Art, 1998. Vol. 55.   Gowing, wrence, and Johannes Vermeer. Vermeer. Berkeley, Calif: University of California Press, 1997.   Henderson, Jasper, Victor Schiferli, and Lynne Richards. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.   - Translated from the Dutch from Lynne Richards. Koningsberger, Hans. The World of Vermeer, 1632-1675. Time-Life Library of Art series. Amsterdam: Time-Life Books, 1985.   Metropolitan Museum of Art , and Liedtke, Walter A. The Milkmaid by Johannes Vermeer / Walter Liedtke. New York: The Metropolitan Museum of Art, 2009   - 2009 exhibition catalogue Plomp, Michiel, et al. Vermeer and the Delft School / Walter Liedtke. New York : The Metropolitan Museum of Art, 2001.    - 2001 exhibition catalog Pollock, Griselda. Differencing the Canon Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999.   Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?" Bulletin Van Het Rijksmuseum. 46, no. 2-3: 275-278.   Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987.   Vermeer, Johannes, and Taco Dibbits. Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007. Tokyo: Tokyo Shimbun, 2007.  - 2007 exhibition catalog Wheelock, Arthur K. Vermeer & the Art of Painting. New Haven: Yale University Press, 1995.   Wheelock, Arthur K., and Johannes Vermeer. Vermeer: The Complete Works. New York: H.N. Abrams, 1997.

Prompt: 牛乳を注ぐ女では、どのように参照のモノグラフが説明されていますか？英語で出力して下さい。

Amsterdam
Delft
Johannes Vermeer
Metropolitan Museum of Art
Milkmaid
National Gallery
National Gallery of Art
Rijksmuseum
Rijksmuseum
The Embarrassment of Riches
Walter Liedtke
Yale University Press


subsection

牛乳を注ぐ女

Bonafoux, Pascal, and Johannes Vermeer van Delft. Vermeer. New York: Konecky & Konecky, 1992.   Cant, Serena, and Jan Vermeer van Delft. Vermeer and His World, 1632-1675. London: Quercus, 2009.   Franits, Wayne E. The Cambridge Companion to Vermeer. Cambridge: Cambridge University Press, 2001.   Franits, Wayne E. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, Conn: Yale University Press, 2004.   Gaskell, Ivan, and Michiel Jonker. Vermeer Studies: [Proceedings of the Symposia "New Vermer Studies" Held in 1995 in Washington, and in 1996 in The Hague]. Washington: National Gallery of Art, 1998. Vol. 55.   Gowing, wrence, and Johannes Vermeer. Vermeer. Berkeley, Calif: University of California Press, 1997.   Henderson, Jasper, Victor Schiferli, and Lynne Richards. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.   - Translated from the Dutch from Lynne Richards. Koningsberger, Hans. The World of Vermeer, 1632-1675. Time-Life Library of Art series. Amsterdam: Time-Life Books, 1985.   Metropolitan Museum of Art , and Liedtke, Walter A. The Milkmaid by Johannes Vermeer / Walter Liedtke. New York: The Metropolitan Museum of Art, 2009   - 2009 exhibition catalogue Plomp, Michiel, et al. Vermeer and the Delft School / Walter Liedtke. New York : The Metropolitan Museum of Art, 2001.    - 2001 exhibition catalog Pollock, Griselda. Differencing the Canon Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999.   Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?" Bulletin Van Het Rijksmuseum. 46, no. 2-3: 275-278.   Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987.   Vermeer, Johannes, and Taco Dibbits. Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007. Tokyo: Tokyo Shimbun, 2007.  - 2007 exhibition catalog Wheelock, Arthur K. Vermeer & the Art of Painting. New Haven: Yale University Press, 1995.   Wheelock, Arthur K., and Johannes Vermeer. Vermeer: The Complete Works. New York: H.N. Abrams, 1997.

Prompt: 牛乳を注ぐ女の参照におけるモノグラフの特徴を説明してください。英語で出力して下さい。

Amsterdam
Delft
Johannes Vermeer
Metropolitan Museum of Art
Milkmaid
National Gallery
National Gallery of Art
Rijksmuseum
Rijksmuseum
The Embarrassment of Riches
Walter Liedtke
Yale University Press


subsection

牛乳を注ぐ女

Liedtke, Walter.  Liedtke, Walter.  Lopate, Leonard.

Prompt: 牛乳を注ぐ女の文脈で、マルチメディアと参照を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

Liedtke, Walter.  Liedtke, Walter.  Lopate, Leonard.

Prompt: 牛乳を注ぐ女の参照に関するマルチメディアを説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

Liedtke, Walter.  Liedtke, Walter.  Lopate, Leonard.

Prompt: 牛乳を注ぐ女では、どのように参照のマルチメディアが説明されていますか？英語で出力して下さい。


subsection

牛乳を注ぐ女

Liedtke, Walter.  Liedtke, Walter.  Lopate, Leonard.

Prompt: 牛乳を注ぐ女の参照におけるマルチメディアの特徴を説明してください。英語で出力して下さい。


section

ムーラン・ルージュ

At the Moulin Rouge  is an oil-on-canvas painting by French artist Henri de Toulouse-utrec.  It was painted between 1892 and 1895.  Included in the background is a self-portrait of the artist in profile.  It is one of a number of works by Toulouse-utrec depicting the Moulin Rouge cabaret built in Paris in 1889.  The painting portrays near its center a group of three men and two women sitting around a table situated on the floor of the cabaret. From right to left, the people at the table include: writer Édouard Dujardin, dancer  Macarona, photographer Paul Secau, photographer Maurice Guibert, and, facing away, Jane Avril, being the focal point of the group - recognizable by her flaming red-orange hair. In the right foreground, apparently sitting at a different table, is a partial facial view of English dancer May Milton, with painted red lips, her face aglow in a distinctive greenish light and shadow.  In the background standing on the right fixing her hair is Moulin Rouge dancer  Goulue and another woman. The center-left background shows the short-statured Toulouse-utrec himself, standing in front of and next to, Dr. Gabriel Tapié de Céleyran.At the Moulin Rouge is  part of the Helen Birch Bartlett Memorial Collection at the Art Institute of Chicago, where it was first displayed on December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art. Art critic Jonathan Jones calls the painting a masterpiece, and writes "the scene is somehow more exotic and more exciting than any recreation [of the Moulin Rouge, or Montmartre] in popular culture."

Prompt: ムーラン・ルージュに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

ムーラン・ルージュ

At the Moulin Rouge  is an oil-on-canvas painting by French artist Henri de Toulouse-utrec.  It was painted between 1892 and 1895.  Included in the background is a self-portrait of the artist in profile.  It is one of a number of works by Toulouse-utrec depicting the Moulin Rouge cabaret built in Paris in 1889.  The painting portrays near its center a group of three men and two women sitting around a table situated on the floor of the cabaret. From right to left, the people at the table include: writer Édouard Dujardin, dancer  Macarona, photographer Paul Secau, photographer Maurice Guibert, and, facing away, Jane Avril, being the focal point of the group - recognizable by her flaming red-orange hair. In the right foreground, apparently sitting at a different table, is a partial facial view of English dancer May Milton, with painted red lips, her face aglow in a distinctive greenish light and shadow.  In the background standing on the right fixing her hair is Moulin Rouge dancer  Goulue and another woman. The center-left background shows the short-statured Toulouse-utrec himself, standing in front of and next to, Dr. Gabriel Tapié de Céleyran.At the Moulin Rouge is  part of the Helen Birch Bartlett Memorial Collection at the Art Institute of Chicago, where it was first displayed on December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art. Art critic Jonathan Jones calls the painting a masterpiece, and writes "the scene is somehow more exotic and more exciting than any recreation [of the Moulin Rouge, or Montmartre] in popular culture."

Prompt: ムーラン・ルージュの抽象を説明してください。英語で出力して下さい。


section

ムーラン・ルージュ

At the Moulin Rouge  is an oil-on-canvas painting by French artist Henri de Toulouse-utrec.  It was painted between 1892 and 1895.  Included in the background is a self-portrait of the artist in profile.  It is one of a number of works by Toulouse-utrec depicting the Moulin Rouge cabaret built in Paris in 1889.  The painting portrays near its center a group of three men and two women sitting around a table situated on the floor of the cabaret. From right to left, the people at the table include: writer Édouard Dujardin, dancer  Macarona, photographer Paul Secau, photographer Maurice Guibert, and, facing away, Jane Avril, being the focal point of the group - recognizable by her flaming red-orange hair. In the right foreground, apparently sitting at a different table, is a partial facial view of English dancer May Milton, with painted red lips, her face aglow in a distinctive greenish light and shadow.  In the background standing on the right fixing her hair is Moulin Rouge dancer  Goulue and another woman. The center-left background shows the short-statured Toulouse-utrec himself, standing in front of and next to, Dr. Gabriel Tapié de Céleyran.At the Moulin Rouge is  part of the Helen Birch Bartlett Memorial Collection at the Art Institute of Chicago, where it was first displayed on December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art. Art critic Jonathan Jones calls the painting a masterpiece, and writes "the scene is somehow more exotic and more exciting than any recreation [of the Moulin Rouge, or Montmartre] in popular culture."

Prompt: ムーラン・ルージュはどのように抽象を説明していますか？英語で出力して下さい。


section

ムーラン・ルージュ

At the Moulin Rouge  is an oil-on-canvas painting by French artist Henri de Toulouse-utrec.  It was painted between 1892 and 1895.  Included in the background is a self-portrait of the artist in profile.  It is one of a number of works by Toulouse-utrec depicting the Moulin Rouge cabaret built in Paris in 1889.  The painting portrays near its center a group of three men and two women sitting around a table situated on the floor of the cabaret. From right to left, the people at the table include: writer Édouard Dujardin, dancer  Macarona, photographer Paul Secau, photographer Maurice Guibert, and, facing away, Jane Avril, being the focal point of the group - recognizable by her flaming red-orange hair. In the right foreground, apparently sitting at a different table, is a partial facial view of English dancer May Milton, with painted red lips, her face aglow in a distinctive greenish light and shadow.  In the background standing on the right fixing her hair is Moulin Rouge dancer  Goulue and another woman. The center-left background shows the short-statured Toulouse-utrec himself, standing in front of and next to, Dr. Gabriel Tapié de Céleyran.At the Moulin Rouge is  part of the Helen Birch Bartlett Memorial Collection at the Art Institute of Chicago, where it was first displayed on December 23, 1930. It was exhibited in London in 2011 at the Courtauld Institute of Art. Art critic Jonathan Jones calls the painting a masterpiece, and writes "the scene is somehow more exotic and more exciting than any recreation [of the Moulin Rouge, or Montmartre] in popular culture."

Prompt: ムーラン・ルージュに関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

ムーラン・ルージュ

</ref> }}Category:Paintings by Henri de Toulouse-utrecCategory:Post-impressionist paintingsCategory:1892 paintingsCategory:Paintings in the Art Institute of ChicagoCategory:Works set in the Moulin RougeCategory:Paintings set in cabaretsCategory:Food and drink paintingsCategory:Paintings of Montmartre

Prompt: ムーラン・ルージュに焦点を当てて、その参考文献を説明してください。英語で出力して下さい。

Art Institute of Chicago
Montmartre
Moulin Rouge


section

ムーラン・ルージュ

</ref> }}Category:Paintings by Henri de Toulouse-utrecCategory:Post-impressionist paintingsCategory:1892 paintingsCategory:Paintings in the Art Institute of ChicagoCategory:Works set in the Moulin RougeCategory:Paintings set in cabaretsCategory:Food and drink paintingsCategory:Paintings of Montmartre

Prompt: ムーラン・ルージュの参考文献を説明してください。英語で出力して下さい。

Art Institute of Chicago
Montmartre
Moulin Rouge


section

ムーラン・ルージュ

</ref> }}Category:Paintings by Henri de Toulouse-utrecCategory:Post-impressionist paintingsCategory:1892 paintingsCategory:Paintings in the Art Institute of ChicagoCategory:Works set in the Moulin RougeCategory:Paintings set in cabaretsCategory:Food and drink paintingsCategory:Paintings of Montmartre

Prompt: ムーラン・ルージュはどのように参考文献を説明していますか？英語で出力して下さい。

Art Institute of Chicago
Montmartre
Moulin Rouge


section

ムーラン・ルージュ

</ref> }}Category:Paintings by Henri de Toulouse-utrecCategory:Post-impressionist paintingsCategory:1892 paintingsCategory:Paintings in the Art Institute of ChicagoCategory:Works set in the Moulin RougeCategory:Paintings set in cabaretsCategory:Food and drink paintingsCategory:Paintings of Montmartre

Prompt: ムーラン・ルージュに関して、どのように参考文献が議論されていますか？英語で出力して下さい。

Art Institute of Chicago
Montmartre
Moulin Rouge


section

サルダナパールの死

and<br /> museum=Musée du Louvre, Paris and Philadelphia Museum of Art}}The Death of Sardanapalus  is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus , and in turn inspired a cantata by Hector Berlioz, Sardanapale , and also Franz Liszt's opera, Sardanapalo .

Prompt: サルダナパールの死に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Assyria
Diodorus Siculus
Eugène Delacroix
Franz Liszt
Hector Berlioz
Lord Byron
Louvre
Louvre
Louvre
Paris
Philadelphia Museum of Art
Romanticism
Sardanapalo
Sardanapalus


section

サルダナパールの死

and<br /> museum=Musée du Louvre, Paris and Philadelphia Museum of Art}}The Death of Sardanapalus  is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus , and in turn inspired a cantata by Hector Berlioz, Sardanapale , and also Franz Liszt's opera, Sardanapalo .

Prompt: サルダナパールの死の抽象を説明してください。英語で出力して下さい。

Assyria
Diodorus Siculus
Eugène Delacroix
Franz Liszt
Hector Berlioz
Lord Byron
Louvre
Louvre
Louvre
Paris
Philadelphia Museum of Art
Romanticism
Sardanapalo
Sardanapalus


section

サルダナパールの死

and<br /> museum=Musée du Louvre, Paris and Philadelphia Museum of Art}}The Death of Sardanapalus  is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus , and in turn inspired a cantata by Hector Berlioz, Sardanapale , and also Franz Liszt's opera, Sardanapalo .

Prompt: サルダナパールの死はどのように抽象を説明していますか？英語で出力して下さい。

Assyria
Diodorus Siculus
Eugène Delacroix
Franz Liszt
Hector Berlioz
Lord Byron
Louvre
Louvre
Louvre
Paris
Philadelphia Museum of Art
Romanticism
Sardanapalo
Sardanapalus


section

サルダナパールの死

and<br /> museum=Musée du Louvre, Paris and Philadelphia Museum of Art}}The Death of Sardanapalus  is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus , and in turn inspired a cantata by Hector Berlioz, Sardanapale , and also Franz Liszt's opera, Sardanapalo .

Prompt: サルダナパールの死に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Assyria
Diodorus Siculus
Eugène Delacroix
Franz Liszt
Hector Berlioz
Lord Byron
Louvre
Louvre
Louvre
Paris
Philadelphia Museum of Art
Romanticism
Sardanapalo
Sardanapalus


section

サルダナパールの死

thumbnailrightEugène Delacroix   Mort de Sardanapale, 392 cm × 496 cm  from the LouvreThe main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

Prompt: サルダナパールの死に焦点を当てて、その視覚分析を説明してください。英語で出力して下さい。

Eugène Delacroix
Louvre
Louvre
Louvre
Sardanapalus


section

サルダナパールの死

thumbnailrightEugène Delacroix   Mort de Sardanapale, 392 cm × 496 cm  from the LouvreThe main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

Prompt: サルダナパールの死の視覚分析を説明してください。英語で出力して下さい。

Eugène Delacroix
Louvre
Louvre
Louvre
Sardanapalus


section

サルダナパールの死

thumbnailrightEugène Delacroix   Mort de Sardanapale, 392 cm × 496 cm  from the LouvreThe main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

Prompt: サルダナパールの死はどのように視覚分析を説明していますか？英語で出力して下さい。

Eugène Delacroix
Louvre
Louvre
Louvre
Sardanapalus


section

サルダナパールの死

thumbnailrightEugène Delacroix   Mort de Sardanapale, 392 cm × 496 cm  from the LouvreThe main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

Prompt: サルダナパールの死に関して、どのように視覚分析が議論されていますか？英語で出力して下さい。

Eugène Delacroix
Louvre
Louvre
Louvre
Sardanapalus


section

サルダナパールの死

Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David’s eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828. Art historian Linda Nochlin has argued that this painting scandalized the Salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own--a collapse of the distinction between the "Other" of Orientalism  and western man. The composer Franz Liszt was inspired by Delacroix's painting  to compose an Italian opera--Sardanapalo--on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

Prompt: サルダナパールの死に焦点を当てて、その受付を説明してください。英語で出力して下さい。

Franz Liszt
Jacques-Louis David
Linda Nochlin
Orientalism
Paris
Sardanapalo
Sardanapalus


section

サルダナパールの死

Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David’s eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828. Art historian Linda Nochlin has argued that this painting scandalized the Salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own--a collapse of the distinction between the "Other" of Orientalism  and western man. The composer Franz Liszt was inspired by Delacroix's painting  to compose an Italian opera--Sardanapalo--on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

Prompt: サルダナパールの死の受付を説明してください。英語で出力して下さい。

Franz Liszt
Jacques-Louis David
Linda Nochlin
Orientalism
Paris
Sardanapalo
Sardanapalus


section

サルダナパールの死

Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David’s eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828. Art historian Linda Nochlin has argued that this painting scandalized the Salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own--a collapse of the distinction between the "Other" of Orientalism  and western man. The composer Franz Liszt was inspired by Delacroix's painting  to compose an Italian opera--Sardanapalo--on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

Prompt: サルダナパールの死はどのように受付を説明していますか？英語で出力して下さい。

Franz Liszt
Jacques-Louis David
Linda Nochlin
Orientalism
Paris
Sardanapalo
Sardanapalus


section

サルダナパールの死

Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David’s eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828. Art historian Linda Nochlin has argued that this painting scandalized the Salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own--a collapse of the distinction between the "Other" of Orientalism  and western man. The composer Franz Liszt was inspired by Delacroix's painting  to compose an Italian opera--Sardanapalo--on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

Prompt: サルダナパールの死に関して、どのように受付が議論されていますか？英語で出力して下さい。

Franz Liszt
Jacques-Louis David
Linda Nochlin
Orientalism
Paris
Sardanapalo
Sardanapalus


section

サルダナパールの死

Bussy, Dorothy. Eugène Delacroix. London: Duckworth and Co., 1912. Trippett, David, "

Prompt: サルダナパールの死に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

サルダナパールの死

Bussy, Dorothy. Eugène Delacroix. London: Duckworth and Co., 1912. Trippett, David, "

Prompt: サルダナパールの死の参考文献を説明してください。英語で出力して下さい。


section

サルダナパールの死

Bussy, Dorothy. Eugène Delacroix. London: Duckworth and Co., 1912. Trippett, David, "

Prompt: サルダナパールの死はどのように参考文献を説明していますか？英語で出力して下さい。


section

サルダナパールの死

Bussy, Dorothy. Eugène Delacroix. London: Duckworth and Co., 1912. Trippett, David, "

Prompt: サルダナパールの死に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

眠るアモール (カラヴァッジョ)

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

Prompt: 眠るアモール (カラヴァッジョ)に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

眠るアモール (カラヴァッジョ)

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

Prompt: 眠るアモール (カラヴァッジョ)の抽象を説明してください。英語で出力して下さい。


section

眠るアモール (カラヴァッジョ)

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

Prompt: 眠るアモール (カラヴァッジョ)はどのように抽象を説明していますか？英語で出力して下さい。


section

眠るアモール (カラヴァッジョ)

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

Prompt: 眠るアモール (カラヴァッジョ)に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

眠るアモール (カラヴァッジョ)

Prompt: 眠るアモール (カラヴァッジョ)に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

眠るアモール (カラヴァッジョ)

Prompt: 眠るアモール (カラヴァッジョ)の参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

眠るアモール (カラヴァッジョ)

Prompt: 眠るアモール (カラヴァッジョ)はどのように参照を説明していますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

眠るアモール (カラヴァッジョ)

Prompt: 眠るアモール (カラヴァッジョ)に関して、どのように参照が議論されていますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

眠るアモール (カラヴァッジョ)

Walter Friedlaender, Caravaggio Studies, Princeton: Princeton University Press 1955, p. 132 and p. 212, cat. 38 A. Silvia Meloni Trkulja, Per l’”Amore dormiente” del Caravaggio, in: Paragone. Arte, 28, 331, 1977, pp. 46–50. Howard Hibbard, Caravaggio , p. 234, 262  Claudio Pizzorusso, Un ‘tranquillo dio’: Giovanni da San Giovanni e Caravaggio, in: Paragone. Rivista mensile di arte figurativa e letteratura, 34, 405, 1983, pp. 50–59. Avigdor W. G. Posèq, A Note on Caravaggio’s “Sleeping Amor”, in: Source. Notes in the History of Art, Summer 1987, Vol. 6, Nr. 4, pp. 27–31. Andreas Prater, Licht und Farbe bei Caravaggio: Studien zur Ästhetik und Ikonologie des Helldunkels, Stuttgart 1992, pp. 141–148. David M. Stone, In Praise of Caravaggio’s Sleeping Cupid. New Documents for Francesco dell’Antella in Malta and Florence, in: Melita Historica, 12, 2, 1997, pp. 165–177. Helen ngdon, Caravaggio: A Life, London, 1999, p. 355   Valeska von Rosen, Caravaggio und die Grenzen des Darstellbaren: Ambiguität, Ironie und Performativität in der Malerei um 1600, Berlin: Akademie-Verlag, 2009, pp. 217–223 Helen ngdon, Caravaggio and Cupid: Homage and Rivalry in Rome and Florence, Edinburgh, 2017 Genevieve Warwick, Memory’s Cut: Caravaggio’s Sleeping Cupid of 1608, in: Art History, 40, 4, 2017, pp. 884–903. Francesco Zucconi, Displacing Caravaggio: Art, Media, and Humanitarian Visual Culture, Cham 2018, pp. 183-198.

Prompt: 眠るアモール (カラヴァッジョ)に焦点を当てて、その二次資料を説明してください。英語で出力して下さい。


section

眠るアモール (カラヴァッジョ)

Walter Friedlaender, Caravaggio Studies, Princeton: Princeton University Press 1955, p. 132 and p. 212, cat. 38 A. Silvia Meloni Trkulja, Per l’”Amore dormiente” del Caravaggio, in: Paragone. Arte, 28, 331, 1977, pp. 46–50. Howard Hibbard, Caravaggio , p. 234, 262  Claudio Pizzorusso, Un ‘tranquillo dio’: Giovanni da San Giovanni e Caravaggio, in: Paragone. Rivista mensile di arte figurativa e letteratura, 34, 405, 1983, pp. 50–59. Avigdor W. G. Posèq, A Note on Caravaggio’s “Sleeping Amor”, in: Source. Notes in the History of Art, Summer 1987, Vol. 6, Nr. 4, pp. 27–31. Andreas Prater, Licht und Farbe bei Caravaggio: Studien zur Ästhetik und Ikonologie des Helldunkels, Stuttgart 1992, pp. 141–148. David M. Stone, In Praise of Caravaggio’s Sleeping Cupid. New Documents for Francesco dell’Antella in Malta and Florence, in: Melita Historica, 12, 2, 1997, pp. 165–177. Helen ngdon, Caravaggio: A Life, London, 1999, p. 355   Valeska von Rosen, Caravaggio und die Grenzen des Darstellbaren: Ambiguität, Ironie und Performativität in der Malerei um 1600, Berlin: Akademie-Verlag, 2009, pp. 217–223 Helen ngdon, Caravaggio and Cupid: Homage and Rivalry in Rome and Florence, Edinburgh, 2017 Genevieve Warwick, Memory’s Cut: Caravaggio’s Sleeping Cupid of 1608, in: Art History, 40, 4, 2017, pp. 884–903. Francesco Zucconi, Displacing Caravaggio: Art, Media, and Humanitarian Visual Culture, Cham 2018, pp. 183-198.

Prompt: 眠るアモール (カラヴァッジョ)の二次資料を説明してください。英語で出力して下さい。


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眠るアモール (カラヴァッジョ)

Walter Friedlaender, Caravaggio Studies, Princeton: Princeton University Press 1955, p. 132 and p. 212, cat. 38 A. Silvia Meloni Trkulja, Per l’”Amore dormiente” del Caravaggio, in: Paragone. Arte, 28, 331, 1977, pp. 46–50. Howard Hibbard, Caravaggio , p. 234, 262  Claudio Pizzorusso, Un ‘tranquillo dio’: Giovanni da San Giovanni e Caravaggio, in: Paragone. Rivista mensile di arte figurativa e letteratura, 34, 405, 1983, pp. 50–59. Avigdor W. G. Posèq, A Note on Caravaggio’s “Sleeping Amor”, in: Source. Notes in the History of Art, Summer 1987, Vol. 6, Nr. 4, pp. 27–31. Andreas Prater, Licht und Farbe bei Caravaggio: Studien zur Ästhetik und Ikonologie des Helldunkels, Stuttgart 1992, pp. 141–148. David M. Stone, In Praise of Caravaggio’s Sleeping Cupid. New Documents for Francesco dell’Antella in Malta and Florence, in: Melita Historica, 12, 2, 1997, pp. 165–177. Helen ngdon, Caravaggio: A Life, London, 1999, p. 355   Valeska von Rosen, Caravaggio und die Grenzen des Darstellbaren: Ambiguität, Ironie und Performativität in der Malerei um 1600, Berlin: Akademie-Verlag, 2009, pp. 217–223 Helen ngdon, Caravaggio and Cupid: Homage and Rivalry in Rome and Florence, Edinburgh, 2017 Genevieve Warwick, Memory’s Cut: Caravaggio’s Sleeping Cupid of 1608, in: Art History, 40, 4, 2017, pp. 884–903. Francesco Zucconi, Displacing Caravaggio: Art, Media, and Humanitarian Visual Culture, Cham 2018, pp. 183-198.

Prompt: 眠るアモール (カラヴァッジョ)はどのように二次資料を説明していますか？英語で出力して下さい。


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眠るアモール (カラヴァッジョ)

Walter Friedlaender, Caravaggio Studies, Princeton: Princeton University Press 1955, p. 132 and p. 212, cat. 38 A. Silvia Meloni Trkulja, Per l’”Amore dormiente” del Caravaggio, in: Paragone. Arte, 28, 331, 1977, pp. 46–50. Howard Hibbard, Caravaggio , p. 234, 262  Claudio Pizzorusso, Un ‘tranquillo dio’: Giovanni da San Giovanni e Caravaggio, in: Paragone. Rivista mensile di arte figurativa e letteratura, 34, 405, 1983, pp. 50–59. Avigdor W. G. Posèq, A Note on Caravaggio’s “Sleeping Amor”, in: Source. Notes in the History of Art, Summer 1987, Vol. 6, Nr. 4, pp. 27–31. Andreas Prater, Licht und Farbe bei Caravaggio: Studien zur Ästhetik und Ikonologie des Helldunkels, Stuttgart 1992, pp. 141–148. David M. Stone, In Praise of Caravaggio’s Sleeping Cupid. New Documents for Francesco dell’Antella in Malta and Florence, in: Melita Historica, 12, 2, 1997, pp. 165–177. Helen ngdon, Caravaggio: A Life, London, 1999, p. 355   Valeska von Rosen, Caravaggio und die Grenzen des Darstellbaren: Ambiguität, Ironie und Performativität in der Malerei um 1600, Berlin: Akademie-Verlag, 2009, pp. 217–223 Helen ngdon, Caravaggio and Cupid: Homage and Rivalry in Rome and Florence, Edinburgh, 2017 Genevieve Warwick, Memory’s Cut: Caravaggio’s Sleeping Cupid of 1608, in: Art History, 40, 4, 2017, pp. 884–903. Francesco Zucconi, Displacing Caravaggio: Art, Media, and Humanitarian Visual Culture, Cham 2018, pp. 183-198.

Prompt: 眠るアモール (カラヴァッジョ)に関して、どのように二次資料が議論されていますか？英語で出力して下さい。


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長い首の聖母

The Madonna with the Long Neck , also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by  Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

Prompt: 長い首の聖母に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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長い首の聖母

The Madonna with the Long Neck , also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by  Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

Prompt: 長い首の聖母の抽象を説明してください。英語で出力して下さい。


section

長い首の聖母

The Madonna with the Long Neck , also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by  Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

Prompt: 長い首の聖母はどのように抽象を説明していますか？英語で出力して下さい。


section

長い首の聖母

The Madonna with the Long Neck , also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by  Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.

Prompt: 長い首の聖母に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

長い首の聖母

The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap.  Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.The painting is popularly called Madonna of the Long Neck because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes:Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture.

Prompt: 長い首の聖母に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

長い首の聖母

The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap.  Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.The painting is popularly called Madonna of the Long Neck because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes:Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture.

Prompt: 長い首の聖母の説明を説明してください。英語で出力して下さい。


section

長い首の聖母

The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap.  Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.The painting is popularly called Madonna of the Long Neck because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes:Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture.

Prompt: 長い首の聖母はどのように説明を説明していますか？英語で出力して下さい。


section

長い首の聖母

The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap.  Six angels crowded together on the Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.The painting is popularly called Madonna of the Long Neck because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes:Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist figura serpentinata. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture.

Prompt: 長い首の聖母に関して、どのように説明が議論されていますか？英語で出力して下さい。


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アロフ・ド・ヴィニャクールと小姓の肖像

Portrait of Alof de Wignacourt and his Page

Portrait of Alof de Wignacourt with his Page  is a painting by the Italian master Caravaggio, in the Louvre of Paris.Alof de Wignacourt joined the Order of the Knights of Saint John  in 1564, aged seventeen, and distinguished himself the next year at the Great Siege of Malta, when the Turks were defeated and never returned to the island. He was elected Grand Master in 1601, determined to enhance the prestige of the Order and its new post-siege capital, Valletta. It was not surprising, therefore, that he would welcome the opportunity to have at his court the most famous painter in Rome and Naples, Michelangelo da Caravaggio.Caravaggio arrived in Malta from Naples in July 1607 and according to his early biographers Giovanni Baglione and Giovanni Bellori, he began at once with portraits of Wignacourt and other knights from the highest ranks of the Order. This famous portrait shows the Grand Master in formal armour, holding his baton of command, every gleaming inch an image of the military might of the Knights. At the time Wignacourt was about sixty years old. He had strengthened the fortifications of the island, built an aqueduct to guarantee water to the city, and launched several attacks on the Turks. He had turned the Knights into a sovereign power, making himself in effect a prince answerable to no-one except the Pope, with his own increasingly wealthy court.One of his innovations had been to surround to himself with young pages, in imitation of the fashion of the princely courts. The pages were taken from the most noble Catholic families of Europe. According to John Gash and others the page in the portrait is probably Nicholas de Paris Boissy, a French aristocrat destined for a distinguished career – he became Grand Prior of France in 1657. He is placed a little awkwardly within the composition: his feet are aligned with the feet of de Wignacourt, as if standing beside de Wignacourt, but his hand and the helmet overlap Wignacourt's elbow, giving the impression that from the waist up he is in front of the knight. The fact can be explained by Caravaggio's practice of painting separately from live models – de Wignacourt and the page were apparently not together in the studio at the same time.The boy's lively expression and alert gaze make him an attractive subject in his own right, to the extent that he was several times copied by later artists visiting Malta.  Wignacourt, encased in splendid black and gold Milanese armour, stares upwards and outwards out of the frame in a dignified manner that invites the viewer to gaze upon him in awe, leaving the page, with his look of boyish interest, as the sole thoroughly human presence, and a far more sympathetic one than the self-conscious man of steel. The double-portrait with the pageboy was an unusual combination for the time. It may have been ordered by Wignacourt to stress the dignity of his court, or Caravaggio may have been inspired by a painting by Titian that he could have seen in his youth in Milan, Alfonso d'Avalos Addressing his Troops, showing the Spanish governor of the city addressing his knights with a page beside him holding his helmet.

Prompt: アロフ・ド・ヴィニャクールと小姓の肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Alfonso d'Avalos Addressing his Troops
Alof de Wignacourt
Caravaggio
Giovanni Baglione
Louvre
Paris
Titian
Valletta


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アロフ・ド・ヴィニャクールと小姓の肖像

Portrait of Alof de Wignacourt and his Page

Portrait of Alof de Wignacourt with his Page  is a painting by the Italian master Caravaggio, in the Louvre of Paris.Alof de Wignacourt joined the Order of the Knights of Saint John  in 1564, aged seventeen, and distinguished himself the next year at the Great Siege of Malta, when the Turks were defeated and never returned to the island. He was elected Grand Master in 1601, determined to enhance the prestige of the Order and its new post-siege capital, Valletta. It was not surprising, therefore, that he would welcome the opportunity to have at his court the most famous painter in Rome and Naples, Michelangelo da Caravaggio.Caravaggio arrived in Malta from Naples in July 1607 and according to his early biographers Giovanni Baglione and Giovanni Bellori, he began at once with portraits of Wignacourt and other knights from the highest ranks of the Order. This famous portrait shows the Grand Master in formal armour, holding his baton of command, every gleaming inch an image of the military might of the Knights. At the time Wignacourt was about sixty years old. He had strengthened the fortifications of the island, built an aqueduct to guarantee water to the city, and launched several attacks on the Turks. He had turned the Knights into a sovereign power, making himself in effect a prince answerable to no-one except the Pope, with his own increasingly wealthy court.One of his innovations had been to surround to himself with young pages, in imitation of the fashion of the princely courts. The pages were taken from the most noble Catholic families of Europe. According to John Gash and others the page in the portrait is probably Nicholas de Paris Boissy, a French aristocrat destined for a distinguished career – he became Grand Prior of France in 1657. He is placed a little awkwardly within the composition: his feet are aligned with the feet of de Wignacourt, as if standing beside de Wignacourt, but his hand and the helmet overlap Wignacourt's elbow, giving the impression that from the waist up he is in front of the knight. The fact can be explained by Caravaggio's practice of painting separately from live models – de Wignacourt and the page were apparently not together in the studio at the same time.The boy's lively expression and alert gaze make him an attractive subject in his own right, to the extent that he was several times copied by later artists visiting Malta.  Wignacourt, encased in splendid black and gold Milanese armour, stares upwards and outwards out of the frame in a dignified manner that invites the viewer to gaze upon him in awe, leaving the page, with his look of boyish interest, as the sole thoroughly human presence, and a far more sympathetic one than the self-conscious man of steel. The double-portrait with the pageboy was an unusual combination for the time. It may have been ordered by Wignacourt to stress the dignity of his court, or Caravaggio may have been inspired by a painting by Titian that he could have seen in his youth in Milan, Alfonso d'Avalos Addressing his Troops, showing the Spanish governor of the city addressing his knights with a page beside him holding his helmet.

Prompt: アロフ・ド・ヴィニャクールと小姓の肖像の抽象を説明してください。英語で出力して下さい。

Alfonso d'Avalos Addressing his Troops
Alof de Wignacourt
Caravaggio
Giovanni Baglione
Louvre
Paris
Titian
Valletta