section

カルロス4世の家族

Buchholz, Elke Linda. Francisco de Goya. Cologne: Könemann, 1999.  Davies, Denny, Hofrichter, Jacobs, Roberts, Simon. Janson's History of Art. Prentice Hall, London, 2011. 824–825.  Gassier, Pierre. Goya. Rizzoli International Publications, 1989.  Gassier, Pierre. Goya: Biographical and Critical Study. New York: Skira, 1995. 69–73 Tomlinson, Janis. From El Greco to Goya: Painting in Spain from 1561-1828. urence King, 2012.

Prompt: カルロス4世の家族の情報源を説明してください。英語で出力して下さい。


section

カルロス4世の家族

Buchholz, Elke Linda. Francisco de Goya. Cologne: Könemann, 1999.  Davies, Denny, Hofrichter, Jacobs, Roberts, Simon. Janson's History of Art. Prentice Hall, London, 2011. 824–825.  Gassier, Pierre. Goya. Rizzoli International Publications, 1989.  Gassier, Pierre. Goya: Biographical and Critical Study. New York: Skira, 1995. 69–73 Tomlinson, Janis. From El Greco to Goya: Painting in Spain from 1561-1828. urence King, 2012.

Prompt: カルロス4世の家族はどのように情報源を説明していますか？英語で出力して下さい。


section

カルロス4世の家族

Buchholz, Elke Linda. Francisco de Goya. Cologne: Könemann, 1999.  Davies, Denny, Hofrichter, Jacobs, Roberts, Simon. Janson's History of Art. Prentice Hall, London, 2011. 824–825.  Gassier, Pierre. Goya. Rizzoli International Publications, 1989.  Gassier, Pierre. Goya: Biographical and Critical Study. New York: Skira, 1995. 69–73 Tomlinson, Janis. From El Greco to Goya: Painting in Spain from 1561-1828. urence King, 2012.

Prompt: カルロス4世の家族に関して、どのように情報源が議論されていますか？英語で出力して下さい。


section

空間における連続性の唯一の形態

Unique Forms of Continuity in Space  is a 1913 bronze Futurist sculpture by Umberto Boccioni. It is seen as an expression of movement and fluidity. The sculpture is depicted on the obverse of the Italian-issue 20 cent euro coin.

Prompt: 空間における連続性の唯一の形態に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

空間における連続性の唯一の形態

Unique Forms of Continuity in Space  is a 1913 bronze Futurist sculpture by Umberto Boccioni. It is seen as an expression of movement and fluidity. The sculpture is depicted on the obverse of the Italian-issue 20 cent euro coin.

Prompt: 空間における連続性の唯一の形態の抽象を説明してください。英語で出力して下さい。


section

空間における連続性の唯一の形態

Unique Forms of Continuity in Space  is a 1913 bronze Futurist sculpture by Umberto Boccioni. It is seen as an expression of movement and fluidity. The sculpture is depicted on the obverse of the Italian-issue 20 cent euro coin.

Prompt: 空間における連続性の唯一の形態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

空間における連続性の唯一の形態

Unique Forms of Continuity in Space  is a 1913 bronze Futurist sculpture by Umberto Boccioni. It is seen as an expression of movement and fluidity. The sculpture is depicted on the obverse of the Italian-issue 20 cent euro coin.

Prompt: 空間における連続性の唯一の形態に関して、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

空間における連続性の唯一の形態

The Futurist movement was striving to portray speed and forceful dynamism in their art. Boccioni, though trained as a painter, began sculpting in 1912. He exclaimed that "these days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art." The following year Boccioni completed the sculpture. His goal for the work was to depict a "synthetic continuity" of motion instead of an "analytical discontinuity" that he saw in artists like František Kupka and Marcel Duchamp. In 1912–13 Boccioni created several other sculptures including his 1913 Development of a Bottle in Space.

Prompt: 空間における連続性の唯一の形態に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Development of a Bottle in Space
František Kupka
Marcel Duchamp


section

空間における連続性の唯一の形態

The Futurist movement was striving to portray speed and forceful dynamism in their art. Boccioni, though trained as a painter, began sculpting in 1912. He exclaimed that "these days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art." The following year Boccioni completed the sculpture. His goal for the work was to depict a "synthetic continuity" of motion instead of an "analytical discontinuity" that he saw in artists like František Kupka and Marcel Duchamp. In 1912–13 Boccioni created several other sculptures including his 1913 Development of a Bottle in Space.

Prompt: 空間における連続性の唯一の形態の歴史を説明してください。英語で出力して下さい。

Development of a Bottle in Space
František Kupka
Marcel Duchamp


section

空間における連続性の唯一の形態

The Futurist movement was striving to portray speed and forceful dynamism in their art. Boccioni, though trained as a painter, began sculpting in 1912. He exclaimed that "these days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art." The following year Boccioni completed the sculpture. His goal for the work was to depict a "synthetic continuity" of motion instead of an "analytical discontinuity" that he saw in artists like František Kupka and Marcel Duchamp. In 1912–13 Boccioni created several other sculptures including his 1913 Development of a Bottle in Space.

Prompt: 空間における連続性の唯一の形態はどのように歴史を説明していますか？英語で出力して下さい。

Development of a Bottle in Space
František Kupka
Marcel Duchamp


section

空間における連続性の唯一の形態

The Futurist movement was striving to portray speed and forceful dynamism in their art. Boccioni, though trained as a painter, began sculpting in 1912. He exclaimed that "these days I am obsessed by sculpture! I believe I have glimpsed a complete renovation of that mummified art." The following year Boccioni completed the sculpture. His goal for the work was to depict a "synthetic continuity" of motion instead of an "analytical discontinuity" that he saw in artists like František Kupka and Marcel Duchamp. In 1912–13 Boccioni created several other sculptures including his 1913 Development of a Bottle in Space.

Prompt: 空間における連続性の唯一の形態に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Development of a Bottle in Space
František Kupka
Marcel Duchamp


section

空間における連続性の唯一の形態

Unique Forms of Continuity in Space depicts a human-like figure apparently in motion. The sculpture has an aerodynamic and fluid form. As a pedestal, two blocks at the feet connect the figure to the ground. The figure is also armless and without a discernibly real face. Andrew Graham-Dixon described the work: "Originally inspired by the sight of a football player moving on to a perfectly weighted pass, it is the quintessence of Boccioni’s serious, sensuous, philosophically contemplative art."Though Boccioni apparently reviled traditional sculpture, Unique Forms of Continuity in Space does resemble more realist works. It is reminiscent of the classical Winged Victory of Samothrace, which Filippo Marinetti, founder of Futurism, declared was inferior in beauty to a roaring car. The lack of arms also pays homage to Auguste Rodin's Walking Man.

Prompt: 空間における連続性の唯一の形態に焦点を当てて、その作曲を説明してください。英語で出力して下さい。

Andrew Graham-Dixon
Auguste Rodin
Futurism
Winged Victory of Samothrace


section

空間における連続性の唯一の形態

Unique Forms of Continuity in Space depicts a human-like figure apparently in motion. The sculpture has an aerodynamic and fluid form. As a pedestal, two blocks at the feet connect the figure to the ground. The figure is also armless and without a discernibly real face. Andrew Graham-Dixon described the work: "Originally inspired by the sight of a football player moving on to a perfectly weighted pass, it is the quintessence of Boccioni’s serious, sensuous, philosophically contemplative art."Though Boccioni apparently reviled traditional sculpture, Unique Forms of Continuity in Space does resemble more realist works. It is reminiscent of the classical Winged Victory of Samothrace, which Filippo Marinetti, founder of Futurism, declared was inferior in beauty to a roaring car. The lack of arms also pays homage to Auguste Rodin's Walking Man.

Prompt: 空間における連続性の唯一の形態の作曲を説明してください。英語で出力して下さい。

Andrew Graham-Dixon
Auguste Rodin
Futurism
Winged Victory of Samothrace


section

空間における連続性の唯一の形態

Unique Forms of Continuity in Space depicts a human-like figure apparently in motion. The sculpture has an aerodynamic and fluid form. As a pedestal, two blocks at the feet connect the figure to the ground. The figure is also armless and without a discernibly real face. Andrew Graham-Dixon described the work: "Originally inspired by the sight of a football player moving on to a perfectly weighted pass, it is the quintessence of Boccioni’s serious, sensuous, philosophically contemplative art."Though Boccioni apparently reviled traditional sculpture, Unique Forms of Continuity in Space does resemble more realist works. It is reminiscent of the classical Winged Victory of Samothrace, which Filippo Marinetti, founder of Futurism, declared was inferior in beauty to a roaring car. The lack of arms also pays homage to Auguste Rodin's Walking Man.

Prompt: 空間における連続性の唯一の形態はどのように作曲を説明していますか？英語で出力して下さい。

Andrew Graham-Dixon
Auguste Rodin
Futurism
Winged Victory of Samothrace


section

空間における連続性の唯一の形態

Unique Forms of Continuity in Space depicts a human-like figure apparently in motion. The sculpture has an aerodynamic and fluid form. As a pedestal, two blocks at the feet connect the figure to the ground. The figure is also armless and without a discernibly real face. Andrew Graham-Dixon described the work: "Originally inspired by the sight of a football player moving on to a perfectly weighted pass, it is the quintessence of Boccioni’s serious, sensuous, philosophically contemplative art."Though Boccioni apparently reviled traditional sculpture, Unique Forms of Continuity in Space does resemble more realist works. It is reminiscent of the classical Winged Victory of Samothrace, which Filippo Marinetti, founder of Futurism, declared was inferior in beauty to a roaring car. The lack of arms also pays homage to Auguste Rodin's Walking Man.

Prompt: 空間における連続性の唯一の形態に関して、どのように作曲が議論されていますか？英語で出力して下さい。

Andrew Graham-Dixon
Auguste Rodin
Futurism
Winged Victory of Samothrace


section

空間における連続性の唯一の形態

alt=leftBoccioni's work was in plaster, and was never cast into bronze in his lifetime. His original plaster is displayed at the Museu de Arte Contemporânea in São Paulo. Two bronze casts were made in 1931, one of which is displayed at the Museum of Modern Art in Manhattan. Another eight, in 1972, were made not from the plaster original, but from one of the 1949 bronze casts. One bronze cast is in the Kröller-Müller Museum in Otterlo, Netherlands. In 2014, a bronze was donated to the National Gallery of Cosenza.

Prompt: 空間における連続性の唯一の形態に焦点を当てて、そのオリジナルプラスターアンドキャストを説明してください。英語で出力して下さい。

Cosenza
Kröller-Müller Museum
Manhattan
Museum of Modern Art
São Paulo


section

空間における連続性の唯一の形態

alt=leftBoccioni's work was in plaster, and was never cast into bronze in his lifetime. His original plaster is displayed at the Museu de Arte Contemporânea in São Paulo. Two bronze casts were made in 1931, one of which is displayed at the Museum of Modern Art in Manhattan. Another eight, in 1972, were made not from the plaster original, but from one of the 1949 bronze casts. One bronze cast is in the Kröller-Müller Museum in Otterlo, Netherlands. In 2014, a bronze was donated to the National Gallery of Cosenza.

Prompt: 空間における連続性の唯一の形態のオリジナルプラスターアンドキャストを説明してください。英語で出力して下さい。

Cosenza
Kröller-Müller Museum
Manhattan
Museum of Modern Art
São Paulo


section

空間における連続性の唯一の形態

alt=leftBoccioni's work was in plaster, and was never cast into bronze in his lifetime. His original plaster is displayed at the Museu de Arte Contemporânea in São Paulo. Two bronze casts were made in 1931, one of which is displayed at the Museum of Modern Art in Manhattan. Another eight, in 1972, were made not from the plaster original, but from one of the 1949 bronze casts. One bronze cast is in the Kröller-Müller Museum in Otterlo, Netherlands. In 2014, a bronze was donated to the National Gallery of Cosenza.

Prompt: 空間における連続性の唯一の形態はどのようにオリジナルプラスターアンドキャストを説明していますか？英語で出力して下さい。

Cosenza
Kröller-Müller Museum
Manhattan
Museum of Modern Art
São Paulo


section

空間における連続性の唯一の形態

alt=leftBoccioni's work was in plaster, and was never cast into bronze in his lifetime. His original plaster is displayed at the Museu de Arte Contemporânea in São Paulo. Two bronze casts were made in 1931, one of which is displayed at the Museum of Modern Art in Manhattan. Another eight, in 1972, were made not from the plaster original, but from one of the 1949 bronze casts. One bronze cast is in the Kröller-Müller Museum in Otterlo, Netherlands. In 2014, a bronze was donated to the National Gallery of Cosenza.

Prompt: 空間における連続性の唯一の形態に関して、どのようにオリジナルプラスターアンドキャストが議論されていますか？英語で出力して下さい。

Cosenza
Kröller-Müller Museum
Manhattan
Museum of Modern Art
São Paulo


section

空間における連続性の唯一の形態

In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space , commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture.

Prompt: 空間における連続性の唯一の形態に焦点を当てて、その影響を説明してください。英語で出力して下さい。

Carlo Forlivesi
Futurism
Gran Turismo World Series
Italian language
Melbourne
Polyphony Digital
Stefano Fossati


section

空間における連続性の唯一の形態

In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space , commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture.

Prompt: 空間における連続性の唯一の形態の影響を説明してください。英語で出力して下さい。

Carlo Forlivesi
Futurism
Gran Turismo World Series
Italian language
Melbourne
Polyphony Digital
Stefano Fossati


section

空間における連続性の唯一の形態

In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space , commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture.

Prompt: 空間における連続性の唯一の形態はどのように影響を説明していますか？英語で出力して下さい。

Carlo Forlivesi
Futurism
Gran Turismo World Series
Italian language
Melbourne
Polyphony Digital
Stefano Fossati


section

空間における連続性の唯一の形態

In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space , commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture.

Prompt: 空間における連続性の唯一の形態に関して、どのように影響が議論されていますか？英語で出力して下さい。

Carlo Forlivesi
Futurism
Gran Turismo World Series
Italian language
Melbourne
Polyphony Digital
Stefano Fossati


section

ファハド王の噴水

type = Fountain height =  height_metric = 312 width_metric =  length_metric =  height_imperial = 1024 width_imperial =  length_imperial =  diameter_metric =  diameter_imperial =  dimension =  metric_unit = m imperial_unit = ft condition =  city = Jeddah, Saudi Arabia coordinates =  owner =  url = }}King Fahd's Fountain , also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.

Prompt: ファハド王の噴水に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

ファハド王の噴水

type = Fountain height =  height_metric = 312 width_metric =  length_metric =  height_imperial = 1024 width_imperial =  length_imperial =  diameter_metric =  diameter_imperial =  dimension =  metric_unit = m imperial_unit = ft condition =  city = Jeddah, Saudi Arabia coordinates =  owner =  url = }}King Fahd's Fountain , also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.

Prompt: ファハド王の噴水の抽象を説明してください。英語で出力して下さい。


section

ファハド王の噴水

type = Fountain height =  height_metric = 312 width_metric =  length_metric =  height_imperial = 1024 width_imperial =  length_imperial =  diameter_metric =  diameter_imperial =  dimension =  metric_unit = m imperial_unit = ft condition =  city = Jeddah, Saudi Arabia coordinates =  owner =  url = }}King Fahd's Fountain , also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.

Prompt: ファハド王の噴水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

ファハド王の噴水

type = Fountain height =  height_metric = 312 width_metric =  length_metric =  height_imperial = 1024 width_imperial =  length_imperial =  diameter_metric =  diameter_imperial =  dimension =  metric_unit = m imperial_unit = ft condition =  city = Jeddah, Saudi Arabia coordinates =  owner =  url = }}King Fahd's Fountain , also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.

Prompt: ファハド王の噴水に関して、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

ファハド王の噴水

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of . The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of .King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world. The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.

Prompt: ファハド王の噴水に焦点を当てて、その概要を説明してください。英語で出力して下さい。

Fountain
Guinness World Records
Jeddah
Red Sea
Saudi Arabia
Seoul
South Korea
World Cup Fountain


section

ファハド王の噴水

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of . The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of .King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world. The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.

Prompt: ファハド王の噴水の概要を説明してください。英語で出力して下さい。

Fountain
Guinness World Records
Jeddah
Red Sea
Saudi Arabia
Seoul
South Korea
World Cup Fountain


section

ファハド王の噴水

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of . The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of .King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world. The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.

Prompt: ファハド王の噴水はどのように概要を説明していますか？英語で出力して下さい。

Fountain
Guinness World Records
Jeddah
Red Sea
Saudi Arabia
Seoul
South Korea
World Cup Fountain


section

ファハド王の噴水

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of . The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of .King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world. The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.

Prompt: ファハド王の噴水に関して、どのように概要が議論されていますか？英語で出力して下さい。

Fountain
Guinness World Records
Jeddah
Red Sea
Saudi Arabia
Seoul
South Korea
World Cup Fountain


section

ファハド王の噴水

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain , but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters .Team Red Bull Air Force base jumper Othar wrence set a global record by making a historic jump along the fountain.

Prompt: ファハド王の噴水に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

ファハド王の噴水

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain , but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters .Team Red Bull Air Force base jumper Othar wrence set a global record by making a historic jump along the fountain.

Prompt: ファハド王の噴水の歴史を説明してください。英語で出力して下さい。


section

ファハド王の噴水

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain , but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters .Team Red Bull Air Force base jumper Othar wrence set a global record by making a historic jump along the fountain.

Prompt: ファハド王の噴水はどのように歴史を説明していますか？英語で出力して下さい。


section

ファハド王の噴水

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain , but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters .Team Red Bull Air Force base jumper Othar wrence set a global record by making a historic jump along the fountain.

Prompt: ファハド王の噴水に関して、どのように歴史が議論されていますか？英語で出力して下さい。


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ファハド王の噴水

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.

Prompt: ファハド王の噴水に焦点を当てて、そのデザインを説明してください。英語で出力して下さい。


section

ファハド王の噴水

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.

Prompt: ファハド王の噴水のデザインを説明してください。英語で出力して下さい。


section

ファハド王の噴水

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.

Prompt: ファハド王の噴水はどのようにデザインを説明していますか？英語で出力して下さい。


section

ファハド王の噴水

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.

Prompt: ファハド王の噴水に関して、どのようにデザインが議論されていますか？英語で出力して下さい。


section

ファハド王の噴水

Prompt: ファハド王の噴水に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ファハド王の噴水

Prompt: ファハド王の噴水の参照を説明してください。英語で出力して下さい。


section

ファハド王の噴水

Prompt: ファハド王の噴水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。


section

ファハド王の噴水

Prompt: ファハド王の噴水に関して、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。


section

ダビデ王の手紙を手にしたバテシバの水浴

Bathsheba at Her Bath  is an oil painting by the Dutch artist Rembrandt , finished in 1654.A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story related in  in which King David sees Bathsheba bathing and, entranced, impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, leaving him to certain death.While the scene of David spying on Bathsheba had been painted by earlier artists, Rembrandt's depiction differs in its tight pictorial focus and erotic vitality, achieved through broad, thick brushstrokes and vibrant coloration.The painting hangs in The Louvre; it is one of 583 works donated by Dr. Louis  Caze in 1869. For Kenneth Clark, the canvas is "Rembrandt's greatest painting of the nude". Its insight into Bathsheba's moral dilemma has been described as "one of the great achievements of western painting."

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Bathsheba
David
Kenneth Clark
Louvre
Old Testament
Rembrandt
Louvre


section

ダビデ王の手紙を手にしたバテシバの水浴

Bathsheba at Her Bath  is an oil painting by the Dutch artist Rembrandt , finished in 1654.A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story related in  in which King David sees Bathsheba bathing and, entranced, impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, leaving him to certain death.While the scene of David spying on Bathsheba had been painted by earlier artists, Rembrandt's depiction differs in its tight pictorial focus and erotic vitality, achieved through broad, thick brushstrokes and vibrant coloration.The painting hangs in The Louvre; it is one of 583 works donated by Dr. Louis  Caze in 1869. For Kenneth Clark, the canvas is "Rembrandt's greatest painting of the nude". Its insight into Bathsheba's moral dilemma has been described as "one of the great achievements of western painting."

Prompt: ダビデ王の手紙を手にしたバテシバの水浴の抽象を説明してください。英語で出力して下さい。

Bathsheba
David
Kenneth Clark
Louvre
Old Testament
Rembrandt
Louvre


section

ダビデ王の手紙を手にしたバテシバの水浴

Bathsheba at Her Bath  is an oil painting by the Dutch artist Rembrandt , finished in 1654.A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story related in  in which King David sees Bathsheba bathing and, entranced, impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, leaving him to certain death.While the scene of David spying on Bathsheba had been painted by earlier artists, Rembrandt's depiction differs in its tight pictorial focus and erotic vitality, achieved through broad, thick brushstrokes and vibrant coloration.The painting hangs in The Louvre; it is one of 583 works donated by Dr. Louis  Caze in 1869. For Kenneth Clark, the canvas is "Rembrandt's greatest painting of the nude". Its insight into Bathsheba's moral dilemma has been described as "one of the great achievements of western painting."

Prompt: ダビデ王の手紙を手にしたバテシバの水浴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。

Bathsheba
David
Kenneth Clark
Louvre
Old Testament
Rembrandt
Louvre


section

ダビデ王の手紙を手にしたバテシバの水浴

Bathsheba at Her Bath  is an oil painting by the Dutch artist Rembrandt , finished in 1654.A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story related in  in which King David sees Bathsheba bathing and, entranced, impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, leaving him to certain death.While the scene of David spying on Bathsheba had been painted by earlier artists, Rembrandt's depiction differs in its tight pictorial focus and erotic vitality, achieved through broad, thick brushstrokes and vibrant coloration.The painting hangs in The Louvre; it is one of 583 works donated by Dr. Louis  Caze in 1869. For Kenneth Clark, the canvas is "Rembrandt's greatest painting of the nude". Its insight into Bathsheba's moral dilemma has been described as "one of the great achievements of western painting."

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、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。

Bathsheba
David
Kenneth Clark
Louvre
Old Testament
Rembrandt
Louvre


section

ダビデ王の手紙を手にしたバテシバの水浴

The Second Book of Samuel  gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、その聖書記述と変異を説明してください。英語で出力して下さい。

Bathsheba
David
Louvre
Rembrandt
Louvre
Uriah the Hittite
Willem Drost


section

ダビデ王の手紙を手にしたバテシバの水浴

The Second Book of Samuel  gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴の聖書記述と変異を説明してください。英語で出力して下さい。

Bathsheba
David
Louvre
Rembrandt
Louvre
Uriah the Hittite
Willem Drost


section

ダビデ王の手紙を手にしたバテシバの水浴

The Second Book of Samuel  gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴はどのように聖書記述と変異を説明していますか？英語で出力して下さい。

Bathsheba
David
Louvre
Rembrandt
Louvre
Uriah the Hittite
Willem Drost


section

ダビデ王の手紙を手にしたバテシバの水浴

The Second Book of Samuel  gives the account of King David who saw a woman bathing from his palace roof. When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed.The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. It is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandt's painting, his ex-pupil and close associate Willem Drost painted Bathsheba with David's Letter the same year, which is also in the Louvre.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、どのように聖書記述と変異が議論されていますか？英語で出力して下さい。

Bathsheba
David
Louvre
Rembrandt
Louvre
Uriah the Hittite
Willem Drost


section

ダビデ王の手紙を手にしたバテシバの水浴

Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure.  show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies  and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、その作曲を説明してください。英語で出力して下さい。

Bathsheba
David
Rembrandt
Tobias Stimmer


section

ダビデ王の手紙を手にしたバテシバの水浴

Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure.  show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies  and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴の作曲を説明してください。英語で出力して下さい。

Bathsheba
David
Rembrandt
Tobias Stimmer


section

ダビデ王の手紙を手にしたバテシバの水浴

Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure.  show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies  and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴はどのように作曲を説明していますか？英語で出力して下さい。

Bathsheba
David
Rembrandt
Tobias Stimmer


section

ダビデ王の手紙を手にしたバテシバの水浴

Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read. The dark background is suggestive of night, while a massive column implies a large architectural structure. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar, a curtain drawn across the background and Bathsheba's downcast gaze. It was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have been larger and of a vertical format. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure.  show that at some point late in the painting process, he lowered Bathsheba's head from its initial more upward angle, thereby increasing the sense of the figure's withdrawal into reverie. Initially she appeared to be looking out of the corner of her eye, as if watching David; in the present version her gaze is softened, in the general direction of her maid but focused on no particular object, imparting a feeling of solemnity and contemplation. There was no letter in her hand in the original conception, Alternatively, art historian Eric Jan Sluijter proposed that the figure could not have been painted directly from a posed model, given the anatomical discrepancies  and inconsistencies in perspective that indicate different parts of the figure are viewed from various vantage points. Yet, the figure appears to repose naturally, without tension or movement. Whatever physical awkwardness the figure may possess when compared to classical sources, the truthfulness of her image has been seen as extraordinarily noble; according to Clark, "this Christian acceptance of the unfortunate body has permitted the Christian privilege of a soul".The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. In representing this moment, Rembrandt extrapolated from the biblical text, which treated Bathsheba incidentally while focusing on David's sinfulness.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、どのように作曲が議論されていますか？英語で出力して下さい。

Bathsheba
David
Rembrandt
Tobias Stimmer


section

ダビデ王の手紙を手にしたバテシバの水浴

The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years. The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy , Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. which is consistent with the result derived from  that Bathsheba's head had been repainted.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、そのモデルを説明してください。英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years. The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy , Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. which is consistent with the result derived from  that Bathsheba's head had been repainted.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴のモデルを説明してください。英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years. The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy , Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. which is consistent with the result derived from  that Bathsheba's head had been repainted.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴はどのようにモデルを説明していますか？英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels, who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period. Assuming Stoffels as the model, medical researchers have observed deformity in the left breast, and have offered various hypotheses including breast cancer, abscess due to tuberculosis and lactation mastitis following an unsuccessful pregnancy. The diagnosis of breast cancer is unlikely, given that Stoffels lived for another nine years. The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy , Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy. which is consistent with the result derived from  that Bathsheba's head had been repainted.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、どのようにモデルが議論されていますか？英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph , an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed  has been compared to Bathsheba for similarities in the model's attitude;Frédéric Bazille recalled Bathsheba in his  Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、その芸術的反応を説明してください。英語で出力して下さい。

Bathsheba
Edgar Degas
Frédéric Bazille
Paris
Rembrandt
Édouard Manet


section

ダビデ王の手紙を手にしたバテシバの水浴

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph , an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed  has been compared to Bathsheba for similarities in the model's attitude;Frédéric Bazille recalled Bathsheba in his  Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴の芸術的反応を説明してください。英語で出力して下さい。

Bathsheba
Edgar Degas
Frédéric Bazille
Paris
Rembrandt
Édouard Manet


section

ダビデ王の手紙を手にしたバテシバの水浴

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph , an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed  has been compared to Bathsheba for similarities in the model's attitude;Frédéric Bazille recalled Bathsheba in his  Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴はどのように芸術的反応を説明していますか？英語で出力して下さい。

Bathsheba
Edgar Degas
Frédéric Bazille
Paris
Rembrandt
Édouard Manet


section

ダビデ王の手紙を手にしたバテシバの水浴

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. It is thought to have inspired The Surprised Nymph , an early figure by Édouard Manet that playfully references old master sources. Edgar Degas' pastel Woman Having Her Hair Combed  has been compared to Bathsheba for similarities in the model's attitude;Frédéric Bazille recalled Bathsheba in his  Toilette, painted for the 1870 Paris Salon. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". A 1963 print by Picasso, Seated Nude and Another Figure, refers to the overtly voyeuristic properties of Bathsheba.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、どのように芸術的反応が議論されていますか？英語で出力して下さい。

Bathsheba
Edgar Degas
Frédéric Bazille
Paris
Rembrandt
Édouard Manet


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ダビデ王の手紙を手にしたバテシバの水浴

The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker , but stolen from her by another art thief Robert "Mac" MacDougal .

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、その大衆文化でを説明してください。英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker , but stolen from her by another art thief Robert "Mac" MacDougal .

Prompt: ダビデ王の手紙を手にしたバテシバの水浴の大衆文化でを説明してください。英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker , but stolen from her by another art thief Robert "Mac" MacDougal .

Prompt: ダビデ王の手紙を手にしたバテシバの水浴はどのように大衆文化でを説明していますか？英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third-season episode of the Canadian television detective series Murdoch Mysteries.The painting was depicted in the film Entrapment, where it was stolen by art thief Virginia "Gin" Baker , but stolen from her by another art thief Robert "Mac" MacDougal .

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、どのように大衆文化でが議論されていますか？英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of paintings by Rembrandt
Rembrandt


section

ダビデ王の手紙を手にしたバテシバの水浴

Prompt: ダビデ王の手紙を手にしたバテシバの水浴の参照を説明してください。英語で出力して下さい。

List of paintings by Rembrandt
Rembrandt


section

ダビデ王の手紙を手にしたバテシバの水浴

Prompt: ダビデ王の手紙を手にしたバテシバの水浴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。

List of paintings by Rembrandt
Rembrandt


section

ダビデ王の手紙を手にしたバテシバの水浴

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、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。

List of paintings by Rembrandt
Rembrandt


section

ダビデ王の手紙を手にしたバテシバの水浴

Boggs, Jean Sutherland, et al. . Degas. New York: The Metropolitan Museum of Art.  Bull, Duncan, et al.  Rembrandt-Caravaggio. Amsterdam: Rijksmuseum; Zwolle: Waanders.  Clark, Kenneth . The Nude: A Study in Ideal Form. Princeton University Press.  Crenshaw, P. . Rembrandt's Bankruptcy: The Artist, his Patrons, and the Art World in Seventeenth-Century Netherlands. Cambridge: Cambridge University Press. Gowing, wrence . Paintings in the Louvre. New York: Stewart, Tabori & Chang.  Schama, Simon.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、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。

Louvre
Metropolitan Museum of Art
Rembrandt
Louvre


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ダビデ王の手紙を手にしたバテシバの水浴

Boggs, Jean Sutherland, et al. . Degas. New York: The Metropolitan Museum of Art.  Bull, Duncan, et al.  Rembrandt-Caravaggio. Amsterdam: Rijksmuseum; Zwolle: Waanders.  Clark, Kenneth . The Nude: A Study in Ideal Form. Princeton University Press.  Crenshaw, P. . Rembrandt's Bankruptcy: The Artist, his Patrons, and the Art World in Seventeenth-Century Netherlands. Cambridge: Cambridge University Press. Gowing, wrence . Paintings in the Louvre. New York: Stewart, Tabori & Chang.  Schama, Simon.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴の参考文献を説明してください。英語で出力して下さい。

Louvre
Metropolitan Museum of Art
Rembrandt
Louvre


section

ダビデ王の手紙を手にしたバテシバの水浴

Boggs, Jean Sutherland, et al. . Degas. New York: The Metropolitan Museum of Art.  Bull, Duncan, et al.  Rembrandt-Caravaggio. Amsterdam: Rijksmuseum; Zwolle: Waanders.  Clark, Kenneth . The Nude: A Study in Ideal Form. Princeton University Press.  Crenshaw, P. . Rembrandt's Bankruptcy: The Artist, his Patrons, and the Art World in Seventeenth-Century Netherlands. Cambridge: Cambridge University Press. Gowing, wrence . Paintings in the Louvre. New York: Stewart, Tabori & Chang.  Schama, Simon.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴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。

Louvre
Metropolitan Museum of Art
Rembrandt
Louvre


section

ダビデ王の手紙を手にしたバテシバの水浴

Boggs, Jean Sutherland, et al. . Degas. New York: The Metropolitan Museum of Art.  Bull, Duncan, et al.  Rembrandt-Caravaggio. Amsterdam: Rijksmuseum; Zwolle: Waanders.  Clark, Kenneth . The Nude: A Study in Ideal Form. Princeton University Press.  Crenshaw, P. . Rembrandt's Bankruptcy: The Artist, his Patrons, and the Art World in Seventeenth-Century Netherlands. Cambridge: Cambridge University Press. Gowing, wrence . Paintings in the Louvre. New York: Stewart, Tabori & Chang.  Schama, Simon.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、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。

Louvre
Metropolitan Museum of Art
Rembrandt
Louvre


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ダビデ王の手紙を手にしたバテシバの水浴

Adams, Ann Jensen  . Rembrandt's Bathsheba Reading King David's Letter. New York: Cambridge University Press.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

Adams, Ann Jensen  . Rembrandt's Bathsheba Reading King David's Letter. New York: Cambridge University Press.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴のさらなる読書を説明してください。英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

Adams, Ann Jensen  . Rembrandt's Bathsheba Reading King David's Letter. New York: Cambridge University Press.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴はどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

ダビデ王の手紙を手にしたバテシバの水浴

Adams, Ann Jensen  . Rembrandt's Bathsheba Reading King David's Letter. New York: Cambridge University Press.

Prompt: ダビデ王の手紙を手にしたバテシバの水浴に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


section

布地商組合の見本調査官たち

The Sampling Officials , also called Syndics of the Drapers’ Guild , is a 1662 oil painting by Rembrandt. It is now in the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".The men  are drapers who were elected to assess the quality of cloth that weavers offered for sale to members of their guild.  Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly.  The Dutch word staal means 'sample' and refers to the samples of cloth that were assessed. The inspectors used pliers to press the seals of their city  and guild  into penny-sized slugs of lead that were specially affixed to record the results of the inspection.  There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one.The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are :Jacob van Loon Volckert Jansz Willem van Doeyenburg Frans Hendricksz Bel Aernout van der Mye Jochem de Neve The guild commissioned this portrait and it hung in their guildhall, the Staalhof , until 1771.The painting is used on the packaging of Dutch Masters cigars. The painting is also seen on the wall in H. G. Wells' house in the opening sequence of The Time Machine. The painting has a prominent part in Jeffrey Archer's 2019 book "Nothing Ventured". It is used on the cover of the book titled 'The Company: A Short History of a Revolutionary Idea' by John Micklethwait and Adrian Wooldridge.

Prompt: 布地商組合の見本調査官たちに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Amsterdam
Draper
Good Friday
Guild
H. G. Wells
Jeffrey Archer
Rembrandt
Rijksmuseum


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布地商組合の見本調査官たち

The Sampling Officials , also called Syndics of the Drapers’ Guild , is a 1662 oil painting by Rembrandt. It is now in the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".The men  are drapers who were elected to assess the quality of cloth that weavers offered for sale to members of their guild.  Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly.  The Dutch word staal means 'sample' and refers to the samples of cloth that were assessed. The inspectors used pliers to press the seals of their city  and guild  into penny-sized slugs of lead that were specially affixed to record the results of the inspection.  There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one.The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are :Jacob van Loon Volckert Jansz Willem van Doeyenburg Frans Hendricksz Bel Aernout van der Mye Jochem de Neve The guild commissioned this portrait and it hung in their guildhall, the Staalhof , until 1771.The painting is used on the packaging of Dutch Masters cigars. The painting is also seen on the wall in H. G. Wells' house in the opening sequence of The Time Machine. The painting has a prominent part in Jeffrey Archer's 2019 book "Nothing Ventured". It is used on the cover of the book titled 'The Company: A Short History of a Revolutionary Idea' by John Micklethwait and Adrian Wooldridge.

Prompt: 布地商組合の見本調査官たちの抽象を説明してください。英語で出力して下さい。

Amsterdam
Draper
Good Friday
Guild
H. G. Wells
Jeffrey Archer
Rembrandt
Rijksmuseum


section

布地商組合の見本調査官たち

The Sampling Officials , also called Syndics of the Drapers’ Guild , is a 1662 oil painting by Rembrandt. It is now in the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".The men  are drapers who were elected to assess the quality of cloth that weavers offered for sale to members of their guild.  Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly.  The Dutch word staal means 'sample' and refers to the samples of cloth that were assessed. The inspectors used pliers to press the seals of their city  and guild  into penny-sized slugs of lead that were specially affixed to record the results of the inspection.  There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one.The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are :Jacob van Loon Volckert Jansz Willem van Doeyenburg Frans Hendricksz Bel Aernout van der Mye Jochem de Neve The guild commissioned this portrait and it hung in their guildhall, the Staalhof , until 1771.The painting is used on the packaging of Dutch Masters cigars. The painting is also seen on the wall in H. G. Wells' house in the opening sequence of The Time Machine. The painting has a prominent part in Jeffrey Archer's 2019 book "Nothing Ventured". It is used on the cover of the book titled 'The Company: A Short History of a Revolutionary Idea' by John Micklethwait and Adrian Wooldridge.

Prompt: 布地商組合の見本調査官たち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。

Amsterdam
Draper
Good Friday
Guild
H. G. Wells
Jeffrey Archer
Rembrandt
Rijksmuseum


section

布地商組合の見本調査官たち

The Sampling Officials , also called Syndics of the Drapers’ Guild , is a 1662 oil painting by Rembrandt. It is now in the Rijksmuseum in Amsterdam. It has been described as his "last great collective portrait".The men  are drapers who were elected to assess the quality of cloth that weavers offered for sale to members of their guild.  Their one-year terms in office began on Good Friday and they were expected to conduct their inspections thrice weekly.  The Dutch word staal means 'sample' and refers to the samples of cloth that were assessed. The inspectors used pliers to press the seals of their city  and guild  into penny-sized slugs of lead that were specially affixed to record the results of the inspection.  There were four grades of quality, the highest was indicated by pressing four seals and the lowest by pressing only one.The men, who are appraising a length of Persian-style fabric against exemplars from a swatch book, are :Jacob van Loon Volckert Jansz Willem van Doeyenburg Frans Hendricksz Bel Aernout van der Mye Jochem de Neve The guild commissioned this portrait and it hung in their guildhall, the Staalhof , until 1771.The painting is used on the packaging of Dutch Masters cigars. The painting is also seen on the wall in H. G. Wells' house in the opening sequence of The Time Machine. The painting has a prominent part in Jeffrey Archer's 2019 book "Nothing Ventured". It is used on the cover of the book titled 'The Company: A Short History of a Revolutionary Idea' by John Micklethwait and Adrian Wooldridge.

Prompt: 布地商組合の見本調査官たちに関して、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。

Amsterdam
Draper
Good Friday
Guild
H. G. Wells
Jeffrey Archer
Rembrandt
Rijksmuseum


section

布地商組合の見本調査官たち

Prompt: 布地商組合の見本調査官たちに焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of paintings by Rembrandt
Rembrandt


section

布地商組合の見本調査官たち

Prompt: 布地商組合の見本調査官たちの参照を説明してください。英語で出力して下さい。

List of paintings by Rembrandt
Rembrandt


section

布地商組合の見本調査官たち

Prompt: 布地商組合の見本調査官たち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。

List of paintings by Rembrandt
Rembrandt


section

布地商組合の見本調査官たち

Prompt: 布地商組合の見本調査官たちに関して、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。

List of paintings by Rembrandt
Rembrandt


section

書斎の聖ヒエロニムス

Saint Jerome in His Study  is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend , which contained fanciful hagiographies of saints.St. Jerome in His Study is often considered as part of a group of three Dürer engravings , the other two being the well-known Melencolia I  and  Knight, Death and the Devil . Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" .  Art historian Erwin Panofsky comments on the perspective:

Prompt: 書斎の聖ヒエロニムスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Erwin Panofsky
Golden Legend
Jerome
Knight, Death and the Devil
Melencolia I
Renaissance
Resurrection


section

書斎の聖ヒエロニムス

Saint Jerome in His Study  is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend , which contained fanciful hagiographies of saints.St. Jerome in His Study is often considered as part of a group of three Dürer engravings , the other two being the well-known Melencolia I  and  Knight, Death and the Devil . Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" .  Art historian Erwin Panofsky comments on the perspective:

Prompt: 書斎の聖ヒエロニムスの抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Erwin Panofsky
Golden Legend
Jerome
Knight, Death and the Devil
Melencolia I
Renaissance
Resurrection


section

書斎の聖ヒエロニムス

Saint Jerome in His Study  is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend , which contained fanciful hagiographies of saints.St. Jerome in His Study is often considered as part of a group of three Dürer engravings , the other two being the well-known Melencolia I  and  Knight, Death and the Devil . Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" .  Art historian Erwin Panofsky comments on the perspective:

Prompt: 書斎の聖ヒエロニムス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。

Albrecht Dürer
Erwin Panofsky
Golden Legend
Jerome
Knight, Death and the Devil
Melencolia I
Renaissance
Resurrection


section

書斎の聖ヒエロニムス

Saint Jerome in His Study  is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the Golden Legend , which contained fanciful hagiographies of saints.St. Jerome in His Study is often considered as part of a group of three Dürer engravings , the other two being the well-known Melencolia I  and  Knight, Death and the Devil . Together they have been viewed as representing the three spheres of activity recognized in medieval times: Knight, Death, and the Devil belongs to the moral sphere and the "active life"; Melencolia I represents the intellectual; and St. Jerome the theological and contemplative life.The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" .  Art historian Erwin Panofsky comments on the perspective:

Prompt: 書斎の聖ヒエロニムスに関して、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。

Albrecht Dürer
Erwin Panofsky
Golden Legend
Jerome
Knight, Death and the Devil
Melencolia I
Renaissance
Resurrection


section

書斎の聖ヒエロニムス

Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy with St. Augustine in his preference for Greek over tin nomenclature for the fast-growing plant known in Hebrew as קיקיון  encountered only this once, in the Book of Jonah. The Old Testament text closes abruptly  with an epistolary warning based on the emblematic trope of a fast-growing vine present in Persian narratives, and popularized widely in certain collections of Aesop's fables such as The Gourd and the Palm-tree. Jerome elected to use hedera  over the more common tin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine, you are the branches". In fact Augustine's view had already prevailed by Dürer's time.

Prompt: 書斎の聖ヒエロニムスに焦点を当てて、そのヨナとひょうたんのつるを説明してください。英語で出力して下さい。

Book of Jonah
Gourd
Jerome
Old Testament
The Gourd and the Palm-tree


section

書斎の聖ヒエロニムス

Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy with St. Augustine in his preference for Greek over tin nomenclature for the fast-growing plant known in Hebrew as קיקיון  encountered only this once, in the Book of Jonah. The Old Testament text closes abruptly  with an epistolary warning based on the emblematic trope of a fast-growing vine present in Persian narratives, and popularized widely in certain collections of Aesop's fables such as The Gourd and the Palm-tree. Jerome elected to use hedera  over the more common tin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine, you are the branches". In fact Augustine's view had already prevailed by Dürer's time.

Prompt: 書斎の聖ヒエロニムスのヨナとひょうたんのつるを説明してください。英語で出力して下さい。

Book of Jonah
Gourd
Jerome
Old Testament
The Gourd and the Palm-tree


section

書斎の聖ヒエロニムス

Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy with St. Augustine in his preference for Greek over tin nomenclature for the fast-growing plant known in Hebrew as קיקיון  encountered only this once, in the Book of Jonah. The Old Testament text closes abruptly  with an epistolary warning based on the emblematic trope of a fast-growing vine present in Persian narratives, and popularized widely in certain collections of Aesop's fables such as The Gourd and the Palm-tree. Jerome elected to use hedera  over the more common tin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine, you are the branches". In fact Augustine's view had already prevailed by Dürer's time.

Prompt: 書斎の聖ヒエロニムスはどのようにヨナとひょうたんのつるを説明していますか？英語で出力して下さい。

Book of Jonah
Gourd
Jerome
Old Testament
The Gourd and the Palm-tree


section

書斎の聖ヒエロニムス

Using a dried gourd hanging from the rafters, Dürer memorializes Jerome's courage, in the face of a long brewing philological controversy with St. Augustine in his preference for Greek over tin nomenclature for the fast-growing plant known in Hebrew as קיקיון  encountered only this once, in the Book of Jonah. The Old Testament text closes abruptly  with an epistolary warning based on the emblematic trope of a fast-growing vine present in Persian narratives, and popularized widely in certain collections of Aesop's fables such as The Gourd and the Palm-tree. Jerome elected to use hedera  over the more common tin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine, you are the branches". In fact Augustine's view had already prevailed by Dürer's time.

Prompt: 書斎の聖ヒエロニムスに関して、どのようにヨナとひょうたんのつるが議論されていますか？英語で出力して下さい。

Book of Jonah
Gourd
Jerome
Old Testament
The Gourd and the Palm-tree


section

書斎の聖ヒエロニムス

The positioning of the Crucifix on Jerome's desk is such that when he looks at it he can also see the skull by the window. Looking at the crucifix reminds of the resurrection of Jesus, which righted the wrongs of Adam leading to death, represented by the skull. The hourglass represents the finite space of time that is a man's life. Viewing these symbols together leads to the thought of man's mortality, and the method by which to save the immortal soul.

Prompt: 書斎の聖ヒエロニムスに焦点を当てて、そのスカルアンドクルシフィックス、アンドザアワーグラスを説明してください。英語で出力して下さい。


section

書斎の聖ヒエロニムス

The positioning of the Crucifix on Jerome's desk is such that when he looks at it he can also see the skull by the window. Looking at the crucifix reminds of the resurrection of Jesus, which righted the wrongs of Adam leading to death, represented by the skull. The hourglass represents the finite space of time that is a man's life. Viewing these symbols together leads to the thought of man's mortality, and the method by which to save the immortal soul.

Prompt: 書斎の聖ヒエロニムスのスカルアンドクルシフィックス、アンドザアワーグラスを説明してください。英語で出力して下さい。


section

書斎の聖ヒエロニムス

The positioning of the Crucifix on Jerome's desk is such that when he looks at it he can also see the skull by the window. Looking at the crucifix reminds of the resurrection of Jesus, which righted the wrongs of Adam leading to death, represented by the skull. The hourglass represents the finite space of time that is a man's life. Viewing these symbols together leads to the thought of man's mortality, and the method by which to save the immortal soul.

Prompt: 書斎の聖ヒエロニムスはどのようにスカルアンドクルシフィックス、アンドザアワーグラスを説明していますか？英語で出力して下さい。


section

書斎の聖ヒエロニムス

The positioning of the Crucifix on Jerome's desk is such that when he looks at it he can also see the skull by the window. Looking at the crucifix reminds of the resurrection of Jesus, which righted the wrongs of Adam leading to death, represented by the skull. The hourglass represents the finite space of time that is a man's life. Viewing these symbols together leads to the thought of man's mortality, and the method by which to save the immortal soul.

Prompt: 書斎の聖ヒエロニムスに関して、どのようにスカルアンドクルシフィックス、アンドザアワーグラスが議論されていますか？英語で出力して下さい。


section

書斎の聖ヒエロニムス

Prompt: 書斎の聖ヒエロニムスに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of engravings by Albrecht Dürer
List of woodcuts by Albrecht Dürer


section

書斎の聖ヒエロニムス

Prompt: 書斎の聖ヒエロニムスの参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of engravings by Albrecht Dürer
List of woodcuts by Albrecht Dürer


section

書斎の聖ヒエロニムス

Prompt: 書斎の聖ヒエロニムス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。

Albrecht Dürer
List of engravings by Albrecht Dürer
List of woodcuts by Albrecht Dürer


section

書斎の聖ヒエロニムス

Prompt: 書斎の聖ヒエロニムスに関して、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。

Albrecht Dürer
List of engravings by Albrecht Dürer
List of woodcuts by Albrecht Dürer


section

書斎の聖ヒエロニムス

Puttfarken, Thomas . The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400–1800. New Haven & London: Yale University Press. . Courtney, Jennifer. Sanford, Courtney . Marvelous To Behold. Classical Conversations, Inc.

Prompt: 書斎の聖ヒエロニムスに焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

書斎の聖ヒエロニムス

Puttfarken, Thomas . The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400–1800. New Haven & London: Yale University Press. . Courtney, Jennifer. Sanford, Courtney . Marvelous To Behold. Classical Conversations, Inc.

Prompt: 書斎の聖ヒエロニムスの情報源を説明してください。英語で出力して下さい。


section

書斎の聖ヒエロニムス

Puttfarken, Thomas . The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400–1800. New Haven & London: Yale University Press. . Courtney, Jennifer. Sanford, Courtney . Marvelous To Behold. Classical Conversations, Inc.

Prompt: 書斎の聖ヒエロニムスはどのように情報源を説明していますか？英語で出力して下さい。


section

書斎の聖ヒエロニムス

Puttfarken, Thomas . The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400–1800. New Haven & London: Yale University Press. . Courtney, Jennifer. Sanford, Courtney . Marvelous To Behold. Classical Conversations, Inc.

Prompt: 書斎の聖ヒエロニムスに関して、どのように情報源が議論されていますか？英語で出力して下さい。


section

マンチェスターの聖母

__NOTOC__The Madonna and Child with St John and Angels , also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. It is one of three surviving panel paintings attributed to the artist and has been dated to his first period in Rome. The work first came to public attention in the Art Treasures Exhibition in Manchester in 1857, hence the title the "Manchester Madonna". Attribution of the painting to Michelangelo was in doubt for much of the nineteenth and twentieth centuries, but now most scholars are in agreement.Like other Renaissance paintings of the Madonna and Child that include John the Baptist, the subject arises from a non-Biblical tradition that the Virgin Mary and the Child Jesus met Christ's cousin, St John the Baptist, on the Holy Family's Flight into Egypt. The Virgin is depicted with one breast bared, as if she has recently been suckling her infant son, which recalls the theme of the Virgin breastfeeding which was common in medieval painting. In her hands is a book  which she attempts to hold away from her son, the contents of which probably foretell his future sacrifice and his taking to himself the evil of the world. She looks over her left shoulder to a scroll being read by a pair of angels, which is likely to read Ecce Agnus Dei , usually an attribute of John the Baptist. The figures are arranged as if in a frieze, revealing Michelangelo's sculptor's mindset. The frieze becomes more convex at its centre, with the figures of Virgin and Child, as in the later Pitti Tondo. Another similarity to relief sculpture is in the plain background: rather than the landscapes more common for exterior settings, Michelangelo has simply painted an expanse of sky. He also eschewes the richly decorated throne typical of sacra conversazione altarpieces, and de-emphasises the angels' wings.Many areas of the painting are in a preliminary state. The black of the Virgin's robe was meant to be overpainted with the rich blue pigment, lapis lazuli, and the angels on the left are indicated only by the green underpaint used for flesh tones in a kind of non finito.

Prompt: マンチェスター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。

Angel
Flight into Egypt
Holy Family
John the Baptist
London
Manchester
Michelangelo
National Gallery
National Gallery
Pitti Tondo
Rome


section

マンチェスターの聖母

__NOTOC__The Madonna and Child with St John and Angels , also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. It is one of three surviving panel paintings attributed to the artist and has been dated to his first period in Rome. The work first came to public attention in the Art Treasures Exhibition in Manchester in 1857, hence the title the "Manchester Madonna". Attribution of the painting to Michelangelo was in doubt for much of the nineteenth and twentieth centuries, but now most scholars are in agreement.Like other Renaissance paintings of the Madonna and Child that include John the Baptist, the subject arises from a non-Biblical tradition that the Virgin Mary and the Child Jesus met Christ's cousin, St John the Baptist, on the Holy Family's Flight into Egypt. The Virgin is depicted with one breast bared, as if she has recently been suckling her infant son, which recalls the theme of the Virgin breastfeeding which was common in medieval painting. In her hands is a book  which she attempts to hold away from her son, the contents of which probably foretell his future sacrifice and his taking to himself the evil of the world. She looks over her left shoulder to a scroll being read by a pair of angels, which is likely to read Ecce Agnus Dei , usually an attribute of John the Baptist. The figures are arranged as if in a frieze, revealing Michelangelo's sculptor's mindset. The frieze becomes more convex at its centre, with the figures of Virgin and Child, as in the later Pitti Tondo. Another similarity to relief sculpture is in the plain background: rather than the landscapes more common for exterior settings, Michelangelo has simply painted an expanse of sky. He also eschewes the richly decorated throne typical of sacra conversazione altarpieces, and de-emphasises the angels' wings.Many areas of the painting are in a preliminary state. The black of the Virgin's robe was meant to be overpainted with the rich blue pigment, lapis lazuli, and the angels on the left are indicated only by the green underpaint used for flesh tones in a kind of non finito.

Prompt: マンチェスター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。

Angel
Flight into Egypt
Holy Family
John the Baptist
London
Manchester
Michelangelo
National Gallery
National Gallery
Pitti Tondo
Rome


section

マンチェスターの聖母

__NOTOC__The Madonna and Child with St John and Angels , also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. It is one of three surviving panel paintings attributed to the artist and has been dated to his first period in Rome. The work first came to public attention in the Art Treasures Exhibition in Manchester in 1857, hence the title the "Manchester Madonna". Attribution of the painting to Michelangelo was in doubt for much of the nineteenth and twentieth centuries, but now most scholars are in agreement.Like other Renaissance paintings of the Madonna and Child that include John the Baptist, the subject arises from a non-Biblical tradition that the Virgin Mary and the Child Jesus met Christ's cousin, St John the Baptist, on the Holy Family's Flight into Egypt. The Virgin is depicted with one breast bared, as if she has recently been suckling her infant son, which recalls the theme of the Virgin breastfeeding which was common in medieval painting. In her hands is a book  which she attempts to hold away from her son, the contents of which probably foretell his future sacrifice and his taking to himself the evil of the world. She looks over her left shoulder to a scroll being read by a pair of angels, which is likely to read Ecce Agnus Dei , usually an attribute of John the Baptist. The figures are arranged as if in a frieze, revealing Michelangelo's sculptor's mindset. The frieze becomes more convex at its centre, with the figures of Virgin and Child, as in the later Pitti Tondo. Another similarity to relief sculpture is in the plain background: rather than the landscapes more common for exterior settings, Michelangelo has simply painted an expanse of sky. He also eschewes the richly decorated throne typical of sacra conversazione altarpieces, and de-emphasises the angels' wings.Many areas of the painting are in a preliminary state. The black of the Virgin's robe was meant to be overpainted with the rich blue pigment, lapis lazuli, and the angels on the left are indicated only by the green underpaint used for flesh tones in a kind of non finito.

Prompt: マンチェスター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。

Angel
Flight into Egypt
Holy Family
John the Baptist
London
Manchester
Michelangelo
National Gallery
National Gallery
Pitti Tondo
Rome


section

マンチェスターの聖母

__NOTOC__The Madonna and Child with St John and Angels , also known as The Manchester Madonna, is an unfinished painting in the National Gallery, London, attributed to Michelangelo. It is one of three surviving panel paintings attributed to the artist and has been dated to his first period in Rome. The work first came to public attention in the Art Treasures Exhibition in Manchester in 1857, hence the title the "Manchester Madonna". Attribution of the painting to Michelangelo was in doubt for much of the nineteenth and twentieth centuries, but now most scholars are in agreement.Like other Renaissance paintings of the Madonna and Child that include John the Baptist, the subject arises from a non-Biblical tradition that the Virgin Mary and the Child Jesus met Christ's cousin, St John the Baptist, on the Holy Family's Flight into Egypt. The Virgin is depicted with one breast bared, as if she has recently been suckling her infant son, which recalls the theme of the Virgin breastfeeding which was common in medieval painting. In her hands is a book  which she attempts to hold away from her son, the contents of which probably foretell his future sacrifice and his taking to himself the evil of the world. She looks over her left shoulder to a scroll being read by a pair of angels, which is likely to read Ecce Agnus Dei , usually an attribute of John the Baptist. The figures are arranged as if in a frieze, revealing Michelangelo's sculptor's mindset. The frieze becomes more convex at its centre, with the figures of Virgin and Child, as in the later Pitti Tondo. Another similarity to relief sculpture is in the plain background: rather than the landscapes more common for exterior settings, Michelangelo has simply painted an expanse of sky. He also eschewes the richly decorated throne typical of sacra conversazione altarpieces, and de-emphasises the angels' wings.Many areas of the painting are in a preliminary state. The black of the Virgin's robe was meant to be overpainted with the rich blue pigment, lapis lazuli, and the angels on the left are indicated only by the green underpaint used for flesh tones in a kind of non finito.

Prompt: マンチェスターの聖母に関して、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。

Angel
Flight into Egypt
Holy Family
John the Baptist
London
Manchester
Michelangelo
National Gallery
National Gallery
Pitti Tondo
Rome


section

マンチェスターの聖母

The completed angel nearest the Virgin is noted as being similar to a sketch the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio.

Prompt: マンチェスターの聖母に焦点を当てて、その帰属を説明してください。英語で出力して下さい。


section

マンチェスターの聖母

The completed angel nearest the Virgin is noted as being similar to a sketch the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio.

Prompt: マンチェスターの聖母の帰属を説明してください。英語で出力して下さい。


section

マンチェスターの聖母

The completed angel nearest the Virgin is noted as being similar to a sketch the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio.

Prompt: マンチェスターの聖母はどのように帰属を説明していますか？英語で出力して下さい。


section

マンチェスターの聖母

The completed angel nearest the Virgin is noted as being similar to a sketch the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio.

Prompt: マンチェスターの聖母に関して、どのように帰属が議論されていますか？英語で出力して下さい。


section

マンチェスターの聖母

Prompt: マンチェスターの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of works by Michelangelo
Michelangelo


section

マンチェスターの聖母

Prompt: マンチェスターの聖母の参照を説明してください。英語で出力して下さい。

List of works by Michelangelo
Michelangelo


section

マンチェスターの聖母

Prompt: マンチェスターの聖母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。

List of works by Michelangelo
Michelangelo


section

マンチェスターの聖母

Prompt: マンチェスターの聖母に関して、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。

List of works by Michelangelo
Michelangelo


section

盲人の寓話

type             = Distemper on linen canvasheight_metric    = 86width_metric     = 154city             = Naples, Italymuseum           = Museo di Capodimonte}}The Blind Leading the Blind, Blind, or The Parable of the Blind  is a painting by the Netherlandish Renaissance artist Pieter Bruegel the Elder, completed in 1568.  Executed in distemper on linen canvas, it measures .  It depicts the Biblical parable of the blind leading the blind from the Gospel of Matthew 15:14, and is in the collection of the Museo di Capodimonte in Naples, Italy.The painting reflects Bruegel's mastery of observation. Each figure has a different eye affliction, including corneal leukoma, atrophy of globe and removed eyes. The men hold their heads aloft to make better use of their other senses. The diagonal composition reinforces the off-kilter motion of the six figures falling in progression. It is considered a masterwork for its accurate detail and composition. Copies include a larger version by Bruegel's son Pieter Brueghel the Younger, and the work has inspired literature such as poetry by Charles Baudelaire and William Carlos Williams, and a novel by Gert Hofmann.Bruegel painted The Blind the year before his death.  It has a bitter, sorrowful tone, which may be related to the establishment of the Council of Troubles in 1567 by the government of the Spanish Netherlands.  The council ordered mass arrests and executions to enforce Spanish rule and suppress Protestantism.  The placement of St. Anna's Church of the village of Sint-Anna-Pede has led to both pro- and anti-Catholic interpretations, though it is not clear that the painting was meant as a political statement.

Prompt: 盲人の寓話に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Charles Baudelaire
Council of Troubles
Gert Hofmann
Gospel of Matthew
Museo di Capodimonte
Naples
Parable
Pieter Bruegel the Elder
Pieter Brueghel the Younger
Sint-Anna-Pede
Spanish Netherlands
William Carlos Williams


section

盲人の寓話

type             = Distemper on linen canvasheight_metric    = 86width_metric     = 154city             = Naples, Italymuseum           = Museo di Capodimonte}}The Blind Leading the Blind, Blind, or The Parable of the Blind  is a painting by the Netherlandish Renaissance artist Pieter Bruegel the Elder, completed in 1568.  Executed in distemper on linen canvas, it measures .  It depicts the Biblical parable of the blind leading the blind from the Gospel of Matthew 15:14, and is in the collection of the Museo di Capodimonte in Naples, Italy.The painting reflects Bruegel's mastery of observation. Each figure has a different eye affliction, including corneal leukoma, atrophy of globe and removed eyes. The men hold their heads aloft to make better use of their other senses. The diagonal composition reinforces the off-kilter motion of the six figures falling in progression. It is considered a masterwork for its accurate detail and composition. Copies include a larger version by Bruegel's son Pieter Brueghel the Younger, and the work has inspired literature such as poetry by Charles Baudelaire and William Carlos Williams, and a novel by Gert Hofmann.Bruegel painted The Blind the year before his death.  It has a bitter, sorrowful tone, which may be related to the establishment of the Council of Troubles in 1567 by the government of the Spanish Netherlands.  The council ordered mass arrests and executions to enforce Spanish rule and suppress Protestantism.  The placement of St. Anna's Church of the village of Sint-Anna-Pede has led to both pro- and anti-Catholic interpretations, though it is not clear that the painting was meant as a political statement.

Prompt: 盲人の寓話の抽象を説明してください。英語で出力して下さい。

Charles Baudelaire
Council of Troubles
Gert Hofmann
Gospel of Matthew
Museo di Capodimonte
Naples
Parable
Pieter Bruegel the Elder
Pieter Brueghel the Younger
Sint-Anna-Pede
Spanish Netherlands
William Carlos Williams


section

盲人の寓話

type             = Distemper on linen canvasheight_metric    = 86width_metric     = 154city             = Naples, Italymuseum           = Museo di Capodimonte}}The Blind Leading the Blind, Blind, or The Parable of the Blind  is a painting by the Netherlandish Renaissance artist Pieter Bruegel the Elder, completed in 1568.  Executed in distemper on linen canvas, it measures .  It depicts the Biblical parable of the blind leading the blind from the Gospel of Matthew 15:14, and is in the collection of the Museo di Capodimonte in Naples, Italy.The painting reflects Bruegel's mastery of observation. Each figure has a different eye affliction, including corneal leukoma, atrophy of globe and removed eyes. The men hold their heads aloft to make better use of their other senses. The diagonal composition reinforces the off-kilter motion of the six figures falling in progression. It is considered a masterwork for its accurate detail and composition. Copies include a larger version by Bruegel's son Pieter Brueghel the Younger, and the work has inspired literature such as poetry by Charles Baudelaire and William Carlos Williams, and a novel by Gert Hofmann.Bruegel painted The Blind the year before his death.  It has a bitter, sorrowful tone, which may be related to the establishment of the Council of Troubles in 1567 by the government of the Spanish Netherlands.  The council ordered mass arrests and executions to enforce Spanish rule and suppress Protestantism.  The placement of St. Anna's Church of the village of Sint-Anna-Pede has led to both pro- and anti-Catholic interpretations, though it is not clear that the painting was meant as a political statement.

Prompt: 盲人の寓話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。

Charles Baudelaire
Council of Troubles
Gert Hofmann
Gospel of Matthew
Museo di Capodimonte
Naples
Parable
Pieter Bruegel the Elder
Pieter Brueghel the Younger
Sint-Anna-Pede
Spanish Netherlands
William Carlos Williams