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窓辺で手紙を読む女

In Vermeer, 1632–1675 , Norbert Schneider wrote that the open window represents "the woman's longing to extend her domestic sphere" beyond the constraints of her home and society, while the fruit "is a symbol of extramarital relations." Schneider concludes that the letter is a love letter either planning or continuing her illicit relationship. He supports the conclusion by observing, as revealed by x-rays of the canvas, that the work as produced by Vermeer portrayed painting of a putto, likely representing Cupid, hanging on the wall in the upper right portion of the piece. Another person painted over the image in the late 18th century so that the wall appeared blank. The overpainting was reversed by a restoration project conducted by the museum Staatliche Kunstsammlungen Dresden from 2018-2021. It is possible that the curtain on the right is referencing the common use of curtains to protect paintings. Even more common, the repoussoir appears in 25, with Girl Reading a Letter at an Open Window, one of three which feature a rug-covered table or balustrade between the figure and the viewer. It was the last painting in which Vermeer featured this device.This painting and Officer and ughing Girl represent the earliest known examples of the pointillé  for which Vermeer became known. John Michael Montias in Vermeer and His Milieu  points out the "tiny white globules" that can be seen in the brighter parts of both paintings, including the still life elements of both and the blond hair specifically in this work. This use of light may support speculation among art historians that Vermeer used a mechanical optical device, such as a double concave lens mounted in a camera obscura, to help him achieve realistic light patterns in his paintings.

Prompt: 窓辺で手紙を読む女の象徴主義と技法を説明してください。英語で出力して下さい。

Cupid
Dresden
John Michael Montias
Staatliche Kunstsammlungen Dresden


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窓辺で手紙を読む女

In Vermeer, 1632–1675 , Norbert Schneider wrote that the open window represents "the woman's longing to extend her domestic sphere" beyond the constraints of her home and society, while the fruit "is a symbol of extramarital relations." Schneider concludes that the letter is a love letter either planning or continuing her illicit relationship. He supports the conclusion by observing, as revealed by x-rays of the canvas, that the work as produced by Vermeer portrayed painting of a putto, likely representing Cupid, hanging on the wall in the upper right portion of the piece. Another person painted over the image in the late 18th century so that the wall appeared blank. The overpainting was reversed by a restoration project conducted by the museum Staatliche Kunstsammlungen Dresden from 2018-2021. It is possible that the curtain on the right is referencing the common use of curtains to protect paintings. Even more common, the repoussoir appears in 25, with Girl Reading a Letter at an Open Window, one of three which feature a rug-covered table or balustrade between the figure and the viewer. It was the last painting in which Vermeer featured this device.This painting and Officer and ughing Girl represent the earliest known examples of the pointillé  for which Vermeer became known. John Michael Montias in Vermeer and His Milieu  points out the "tiny white globules" that can be seen in the brighter parts of both paintings, including the still life elements of both and the blond hair specifically in this work. This use of light may support speculation among art historians that Vermeer used a mechanical optical device, such as a double concave lens mounted in a camera obscura, to help him achieve realistic light patterns in his paintings.

Prompt: 窓辺で手紙を読む女はどのように象徴主義と技法を説明していますか？英語で出力して下さい。

Cupid
Dresden
John Michael Montias
Staatliche Kunstsammlungen Dresden


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窓辺で手紙を読む女

In Vermeer, 1632–1675 , Norbert Schneider wrote that the open window represents "the woman's longing to extend her domestic sphere" beyond the constraints of her home and society, while the fruit "is a symbol of extramarital relations." Schneider concludes that the letter is a love letter either planning or continuing her illicit relationship. He supports the conclusion by observing, as revealed by x-rays of the canvas, that the work as produced by Vermeer portrayed painting of a putto, likely representing Cupid, hanging on the wall in the upper right portion of the piece. Another person painted over the image in the late 18th century so that the wall appeared blank. The overpainting was reversed by a restoration project conducted by the museum Staatliche Kunstsammlungen Dresden from 2018-2021. It is possible that the curtain on the right is referencing the common use of curtains to protect paintings. Even more common, the repoussoir appears in 25, with Girl Reading a Letter at an Open Window, one of three which feature a rug-covered table or balustrade between the figure and the viewer. It was the last painting in which Vermeer featured this device.This painting and Officer and ughing Girl represent the earliest known examples of the pointillé  for which Vermeer became known. John Michael Montias in Vermeer and His Milieu  points out the "tiny white globules" that can be seen in the brighter parts of both paintings, including the still life elements of both and the blond hair specifically in this work. This use of light may support speculation among art historians that Vermeer used a mechanical optical device, such as a double concave lens mounted in a camera obscura, to help him achieve realistic light patterns in his paintings.

Prompt: 窓辺で手紙を読む女に関して、どのように象徴主義と技法が議論されていますか？英語で出力して下さい。

Cupid
Dresden
John Michael Montias
Staatliche Kunstsammlungen Dresden


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窓辺で手紙を読む女

A major restoration completed in 2021 shows a painting of Cupid on the wall behind the reading girl, as well as brighter colors in the painting. Many have changed their view or interpretation of this painting, now that the “painting within a painting” has been revealed as part of the original work, covered up by someone long after Vermeer died. "Scholars believe that the newly revealed picture is meant to indicate that the woman is reading a love letter." and now the work is again on display for the public to offer their views.

Prompt: 窓辺で手紙を読む女に焦点を当てて、その21世紀の修復を説明してください。英語で出力して下さい。


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窓辺で手紙を読む女

A major restoration completed in 2021 shows a painting of Cupid on the wall behind the reading girl, as well as brighter colors in the painting. Many have changed their view or interpretation of this painting, now that the “painting within a painting” has been revealed as part of the original work, covered up by someone long after Vermeer died. "Scholars believe that the newly revealed picture is meant to indicate that the woman is reading a love letter." and now the work is again on display for the public to offer their views.

Prompt: 窓辺で手紙を読む女の21世紀の修復を説明してください。英語で出力して下さい。


section

窓辺で手紙を読む女

A major restoration completed in 2021 shows a painting of Cupid on the wall behind the reading girl, as well as brighter colors in the painting. Many have changed their view or interpretation of this painting, now that the “painting within a painting” has been revealed as part of the original work, covered up by someone long after Vermeer died. "Scholars believe that the newly revealed picture is meant to indicate that the woman is reading a love letter." and now the work is again on display for the public to offer their views.

Prompt: 窓辺で手紙を読む女はどのように21世紀の修復を説明していますか？英語で出力して下さい。


section

窓辺で手紙を読む女

A major restoration completed in 2021 shows a painting of Cupid on the wall behind the reading girl, as well as brighter colors in the painting. Many have changed their view or interpretation of this painting, now that the “painting within a painting” has been revealed as part of the original work, covered up by someone long after Vermeer died. "Scholars believe that the newly revealed picture is meant to indicate that the woman is reading a love letter." and now the work is again on display for the public to offer their views.

Prompt: 窓辺で手紙を読む女に関して、どのように21世紀の修復が議論されていますか？英語で出力して下さい。


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窓辺で手紙を読む女

Vermeer completed the painting in approximately 1657–59. In 1742, Augustus III of Poland, Elector of Saxony, purchased the painting under the mistaken belief that it had been painted by Rembrandt. In 1826, it was mis-attributed again, to Pieter de Hooch. It was so labelled when French art critic Théophile Thoré-Bürger came upon it, recognizing it as one of the rare works of the Dutch painter and restoring its proper attribution in 1860.Girl Reading a Letter at an Open Window was among the paintings rescued from destruction during the bombing of Dresden in World War II. The painting was stored, with other works of art, in a tunnel in Saxony; when the Red Army encountered them, they took them. The Soviets portrayed this as an act of rescue; some others as an act of plunder. Either way, after the death of Joseph Stalin, the Soviets decided in 1955 to return the art to Germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples." Aggrieved at the thought of losing hundreds of paintings, art historians and museum curators in the Soviet Union suggested that "in acknowledgment for saving and returning the world-famous treasures of the Dresden Gallery" the Germans should perhaps donate to them Girl Reading a Letter at an Open Window and Sleeping Venus by Giorgione. The Germans did not take to the idea, and the painting was returned. Well-preserved, it is on display at the Gemäldegalerie in Dresden.

Prompt: 窓辺で手紙を読む女に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Augustus III of Poland
Dresden
Giorgione
Joseph Stalin
Pieter de Hooch
Red Army
Rembrandt
Saxony
Théophile Thoré-Bürger
World War II


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窓辺で手紙を読む女

Vermeer completed the painting in approximately 1657–59. In 1742, Augustus III of Poland, Elector of Saxony, purchased the painting under the mistaken belief that it had been painted by Rembrandt. In 1826, it was mis-attributed again, to Pieter de Hooch. It was so labelled when French art critic Théophile Thoré-Bürger came upon it, recognizing it as one of the rare works of the Dutch painter and restoring its proper attribution in 1860.Girl Reading a Letter at an Open Window was among the paintings rescued from destruction during the bombing of Dresden in World War II. The painting was stored, with other works of art, in a tunnel in Saxony; when the Red Army encountered them, they took them. The Soviets portrayed this as an act of rescue; some others as an act of plunder. Either way, after the death of Joseph Stalin, the Soviets decided in 1955 to return the art to Germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples." Aggrieved at the thought of losing hundreds of paintings, art historians and museum curators in the Soviet Union suggested that "in acknowledgment for saving and returning the world-famous treasures of the Dresden Gallery" the Germans should perhaps donate to them Girl Reading a Letter at an Open Window and Sleeping Venus by Giorgione. The Germans did not take to the idea, and the painting was returned. Well-preserved, it is on display at the Gemäldegalerie in Dresden.

Prompt: 窓辺で手紙を読む女の歴史を説明してください。英語で出力して下さい。

Augustus III of Poland
Dresden
Giorgione
Joseph Stalin
Pieter de Hooch
Red Army
Rembrandt
Saxony
Théophile Thoré-Bürger
World War II


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窓辺で手紙を読む女

Vermeer completed the painting in approximately 1657–59. In 1742, Augustus III of Poland, Elector of Saxony, purchased the painting under the mistaken belief that it had been painted by Rembrandt. In 1826, it was mis-attributed again, to Pieter de Hooch. It was so labelled when French art critic Théophile Thoré-Bürger came upon it, recognizing it as one of the rare works of the Dutch painter and restoring its proper attribution in 1860.Girl Reading a Letter at an Open Window was among the paintings rescued from destruction during the bombing of Dresden in World War II. The painting was stored, with other works of art, in a tunnel in Saxony; when the Red Army encountered them, they took them. The Soviets portrayed this as an act of rescue; some others as an act of plunder. Either way, after the death of Joseph Stalin, the Soviets decided in 1955 to return the art to Germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples." Aggrieved at the thought of losing hundreds of paintings, art historians and museum curators in the Soviet Union suggested that "in acknowledgment for saving and returning the world-famous treasures of the Dresden Gallery" the Germans should perhaps donate to them Girl Reading a Letter at an Open Window and Sleeping Venus by Giorgione. The Germans did not take to the idea, and the painting was returned. Well-preserved, it is on display at the Gemäldegalerie in Dresden.

Prompt: 窓辺で手紙を読む女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。

Augustus III of Poland
Dresden
Giorgione
Joseph Stalin
Pieter de Hooch
Red Army
Rembrandt
Saxony
Théophile Thoré-Bürger
World War II


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窓辺で手紙を読む女

Vermeer completed the painting in approximately 1657–59. In 1742, Augustus III of Poland, Elector of Saxony, purchased the painting under the mistaken belief that it had been painted by Rembrandt. In 1826, it was mis-attributed again, to Pieter de Hooch. It was so labelled when French art critic Théophile Thoré-Bürger came upon it, recognizing it as one of the rare works of the Dutch painter and restoring its proper attribution in 1860.Girl Reading a Letter at an Open Window was among the paintings rescued from destruction during the bombing of Dresden in World War II. The painting was stored, with other works of art, in a tunnel in Saxony; when the Red Army encountered them, they took them. The Soviets portrayed this as an act of rescue; some others as an act of plunder. Either way, after the death of Joseph Stalin, the Soviets decided in 1955 to return the art to Germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples." Aggrieved at the thought of losing hundreds of paintings, art historians and museum curators in the Soviet Union suggested that "in acknowledgment for saving and returning the world-famous treasures of the Dresden Gallery" the Germans should perhaps donate to them Girl Reading a Letter at an Open Window and Sleeping Venus by Giorgione. The Germans did not take to the idea, and the painting was returned. Well-preserved, it is on display at the Gemäldegalerie in Dresden.

Prompt: 窓辺で手紙を読む女に関して、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。

Augustus III of Poland
Dresden
Giorgione
Joseph Stalin
Pieter de Hooch
Red Army
Rembrandt
Saxony
Théophile Thoré-Bürger
World War II


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窓辺で手紙を読む女

The painting was investigated by Hermann Kühn together with several other works of Vermeer in 1968. The pigment analysis has shown that Vermeer's choice of painting materials did not reveal any peculiarities as he used the usual pigments of the baroque period. The green drapery in the foreground is painted mainly in a mixture of blue azurite and lead-tin-yellow, while the lower part contains green earth. For the red drapery in the window and the red parts of the table covering Vermeer used a mixture of vermilion, madder lake and lead white.

Prompt: 窓辺で手紙を読む女に焦点を当てて、その絵画材料を説明してください。英語で出力して下さい。


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窓辺で手紙を読む女

The painting was investigated by Hermann Kühn together with several other works of Vermeer in 1968. The pigment analysis has shown that Vermeer's choice of painting materials did not reveal any peculiarities as he used the usual pigments of the baroque period. The green drapery in the foreground is painted mainly in a mixture of blue azurite and lead-tin-yellow, while the lower part contains green earth. For the red drapery in the window and the red parts of the table covering Vermeer used a mixture of vermilion, madder lake and lead white.

Prompt: 窓辺で手紙を読む女の絵画材料を説明してください。英語で出力して下さい。


section

窓辺で手紙を読む女

The painting was investigated by Hermann Kühn together with several other works of Vermeer in 1968. The pigment analysis has shown that Vermeer's choice of painting materials did not reveal any peculiarities as he used the usual pigments of the baroque period. The green drapery in the foreground is painted mainly in a mixture of blue azurite and lead-tin-yellow, while the lower part contains green earth. For the red drapery in the window and the red parts of the table covering Vermeer used a mixture of vermilion, madder lake and lead white.

Prompt: 窓辺で手紙を読む女はどのように絵画材料を説明していますか？英語で出力して下さい。


section

窓辺で手紙を読む女

The painting was investigated by Hermann Kühn together with several other works of Vermeer in 1968. The pigment analysis has shown that Vermeer's choice of painting materials did not reveal any peculiarities as he used the usual pigments of the baroque period. The green drapery in the foreground is painted mainly in a mixture of blue azurite and lead-tin-yellow, while the lower part contains green earth. For the red drapery in the window and the red parts of the table covering Vermeer used a mixture of vermilion, madder lake and lead white.

Prompt: 窓辺で手紙を読む女に関して、どのように絵画材料が議論されていますか？英語で出力して下さい。


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窓辺で手紙を読む女

This painting has been an inspiration to other artists, such as Tom Hunter, whose artistic photo interpretation of the somber tone of emotion and the bowl of fruit shows a young mother and her child reading an eviction notice. With the major restoration of the original painting by Vermeer, the question has been posed: “Will Tom Hunter now revisit his Kobal Photographic Portrait Award winning work to reveal a hidden image on the wall?”

Prompt: 窓辺で手紙を読む女に焦点を当てて、その遺産を説明してください。英語で出力して下さい。


section

窓辺で手紙を読む女

This painting has been an inspiration to other artists, such as Tom Hunter, whose artistic photo interpretation of the somber tone of emotion and the bowl of fruit shows a young mother and her child reading an eviction notice. With the major restoration of the original painting by Vermeer, the question has been posed: “Will Tom Hunter now revisit his Kobal Photographic Portrait Award winning work to reveal a hidden image on the wall?”

Prompt: 窓辺で手紙を読む女の遺産を説明してください。英語で出力して下さい。


section

窓辺で手紙を読む女

This painting has been an inspiration to other artists, such as Tom Hunter, whose artistic photo interpretation of the somber tone of emotion and the bowl of fruit shows a young mother and her child reading an eviction notice. With the major restoration of the original painting by Vermeer, the question has been posed: “Will Tom Hunter now revisit his Kobal Photographic Portrait Award winning work to reveal a hidden image on the wall?”

Prompt: 窓辺で手紙を読む女はどのように遺産を説明していますか？英語で出力して下さい。


section

窓辺で手紙を読む女

This painting has been an inspiration to other artists, such as Tom Hunter, whose artistic photo interpretation of the somber tone of emotion and the bowl of fruit shows a young mother and her child reading an eviction notice. With the major restoration of the original painting by Vermeer, the question has been posed: “Will Tom Hunter now revisit his Kobal Photographic Portrait Award winning work to reveal a hidden image on the wall?”

Prompt: 窓辺で手紙を読む女に関して、どのように遺産が議論されていますか？英語で出力して下さい。


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窓辺で手紙を読む女

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: 窓辺で手紙を読む女に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer


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窓辺で手紙を読む女

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: 窓辺で手紙を読む女の参照を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer


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窓辺で手紙を読む女

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: 窓辺で手紙を読む女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。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer


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窓辺で手紙を読む女

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: 窓辺で手紙を読む女に関して、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。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The Portrait of Cardinal Ludovico Trevisan is a painting by the Italian Renaissance artist Andrea Mantegna, dated to c. 1459–1460. It is currently part of the collection of the Gemäldegalerie, Berlin.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Gemäldegalerie, Berlin
Ludovico Trevisan
Renaissance


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The Portrait of Cardinal Ludovico Trevisan is a painting by the Italian Renaissance artist Andrea Mantegna, dated to c. 1459–1460. It is currently part of the collection of the Gemäldegalerie, Berlin.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像の抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Gemäldegalerie, Berlin
Ludovico Trevisan
Renaissance


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The Portrait of Cardinal Ludovico Trevisan is a painting by the Italian Renaissance artist Andrea Mantegna, dated to c. 1459–1460. It is currently part of the collection of the Gemäldegalerie, Berlin.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像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。

Andrea Mantegna
Gemäldegalerie, Berlin
Ludovico Trevisan
Renaissance


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The Portrait of Cardinal Ludovico Trevisan is a painting by the Italian Renaissance artist Andrea Mantegna, dated to c. 1459–1460. It is currently part of the collection of the Gemäldegalerie, Berlin.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像に関して、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。

Andrea Mantegna
Gemäldegalerie, Berlin
Ludovico Trevisan
Renaissance


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The identification of the painting's subject as the Venetian cardinal Ludovico Trevisan is confirmed by several copies of the work, as that once in the Bromley Davenport Collection including the man's name, titles and coat of arms, as well as by a medal attributed to Cristoforo di Geremia or an etching included in the  1630 Illustrium virorum elogia, where it is also specified that the portrait belonged to Francesco Leone of Padua.Cardinal Trevisan, later also known as  Scarampi Mezzarota, took part in the council of Mantua in 1459: the portrait was commissioned from Mantegna when the artist was still in Padua, shortly before he established himself in Mantua.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Bromley Davenport Collection
Cristoforo di Geremia
Ludovico Trevisan
Padua


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The identification of the painting's subject as the Venetian cardinal Ludovico Trevisan is confirmed by several copies of the work, as that once in the Bromley Davenport Collection including the man's name, titles and coat of arms, as well as by a medal attributed to Cristoforo di Geremia or an etching included in the  1630 Illustrium virorum elogia, where it is also specified that the portrait belonged to Francesco Leone of Padua.Cardinal Trevisan, later also known as  Scarampi Mezzarota, took part in the council of Mantua in 1459: the portrait was commissioned from Mantegna when the artist was still in Padua, shortly before he established himself in Mantua.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像の歴史を説明してください。英語で出力して下さい。

Bromley Davenport Collection
Cristoforo di Geremia
Ludovico Trevisan
Padua


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The identification of the painting's subject as the Venetian cardinal Ludovico Trevisan is confirmed by several copies of the work, as that once in the Bromley Davenport Collection including the man's name, titles and coat of arms, as well as by a medal attributed to Cristoforo di Geremia or an etching included in the  1630 Illustrium virorum elogia, where it is also specified that the portrait belonged to Francesco Leone of Padua.Cardinal Trevisan, later also known as  Scarampi Mezzarota, took part in the council of Mantua in 1459: the portrait was commissioned from Mantegna when the artist was still in Padua, shortly before he established himself in Mantua.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像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。

Bromley Davenport Collection
Cristoforo di Geremia
Ludovico Trevisan
Padua


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The identification of the painting's subject as the Venetian cardinal Ludovico Trevisan is confirmed by several copies of the work, as that once in the Bromley Davenport Collection including the man's name, titles and coat of arms, as well as by a medal attributed to Cristoforo di Geremia or an etching included in the  1630 Illustrium virorum elogia, where it is also specified that the portrait belonged to Francesco Leone of Padua.Cardinal Trevisan, later also known as  Scarampi Mezzarota, took part in the council of Mantua in 1459: the portrait was commissioned from Mantegna when the artist was still in Padua, shortly before he established himself in Mantua.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像に関して、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。

Bromley Davenport Collection
Cristoforo di Geremia
Ludovico Trevisan
Padua


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The cardinal is portrayed from in a three-quarter position over a dark background, with strong chiaroscuro effects which enhance the volume of the figure, turning it into a kind of Roman-style bust in painting.The serious and concentrated glance and the detail of the closed lips underline the strong character of the man, who was not only a politician and diplomat, but also a war leader. Mantegna gave a notable attention not only to the details of the face , but also to the garments, indicating his high social status.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像に焦点を当てて、その説明を説明してください。英語で出力して下さい。


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The cardinal is portrayed from in a three-quarter position over a dark background, with strong chiaroscuro effects which enhance the volume of the figure, turning it into a kind of Roman-style bust in painting.The serious and concentrated glance and the detail of the closed lips underline the strong character of the man, who was not only a politician and diplomat, but also a war leader. Mantegna gave a notable attention not only to the details of the face , but also to the garments, indicating his high social status.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像の説明を説明してください。英語で出力して下さい。


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The cardinal is portrayed from in a three-quarter position over a dark background, with strong chiaroscuro effects which enhance the volume of the figure, turning it into a kind of Roman-style bust in painting.The serious and concentrated glance and the detail of the closed lips underline the strong character of the man, who was not only a politician and diplomat, but also a war leader. Mantegna gave a notable attention not only to the details of the face , but also to the garments, indicating his high social status.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像はどのように説明を説明していますか？英語で出力して下さい。


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ルドヴィーコ・トレヴィザン枢機卿の肖像

The cardinal is portrayed from in a three-quarter position over a dark background, with strong chiaroscuro effects which enhance the volume of the figure, turning it into a kind of Roman-style bust in painting.The serious and concentrated glance and the detail of the closed lips underline the strong character of the man, who was not only a politician and diplomat, but also a war leader. Mantegna gave a notable attention not only to the details of the face , but also to the garments, indicating his high social status.

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像に関して、どのように説明が議論されていますか？英語で出力して下さい。


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ルドヴィーコ・トレヴィザン枢機卿の肖像

Grande Storia dell'Arte - Il Quattrocento, Il Sole 24 Ore, 2005 Kleiner, Frank S. Gardner's Art Through the Ages, 13th Edition, 2008 Manca, Joseph. Andrea Mantegna and the Italian Renaissance, 2006<br>

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像に焦点を当てて、その情報源を説明してください。英語で出力して下さい。

Andrea Mantegna
Il Sole 24 Ore
Renaissance


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ルドヴィーコ・トレヴィザン枢機卿の肖像

Grande Storia dell'Arte - Il Quattrocento, Il Sole 24 Ore, 2005 Kleiner, Frank S. Gardner's Art Through the Ages, 13th Edition, 2008 Manca, Joseph. Andrea Mantegna and the Italian Renaissance, 2006<br>

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像の情報源を説明してください。英語で出力して下さい。

Andrea Mantegna
Il Sole 24 Ore
Renaissance


section

ルドヴィーコ・トレヴィザン枢機卿の肖像

Grande Storia dell'Arte - Il Quattrocento, Il Sole 24 Ore, 2005 Kleiner, Frank S. Gardner's Art Through the Ages, 13th Edition, 2008 Manca, Joseph. Andrea Mantegna and the Italian Renaissance, 2006<br>

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像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。

Andrea Mantegna
Il Sole 24 Ore
Renaissance


section

ルドヴィーコ・トレヴィザン枢機卿の肖像

Grande Storia dell'Arte - Il Quattrocento, Il Sole 24 Ore, 2005 Kleiner, Frank S. Gardner's Art Through the Ages, 13th Edition, 2008 Manca, Joseph. Andrea Mantegna and the Italian Renaissance, 2006<br>

Prompt: ルドヴィーコ・トレヴィザン枢機卿の肖像に関して、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。

Andrea Mantegna
Il Sole 24 Ore
Renaissance


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奴隷のいるオダリスク

medium             = Oil on canvas height_metric      = 72.1 width_metric       = 100.3 city               = Cambridge, Massachusetts museum             = Harvard Art Museums/Fogg Museum}}Odalisque with Slave  is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

Prompt: 奴隷のいるオダリスクに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Cambridge, Massachusetts
Harvard Art Museums
Jean-Auguste-Dominique Ingres
Massachusetts
Odalisque
Orientalism


section

奴隷のいるオダリスク

medium             = Oil on canvas height_metric      = 72.1 width_metric       = 100.3 city               = Cambridge, Massachusetts museum             = Harvard Art Museums/Fogg Museum}}Odalisque with Slave  is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

Prompt: 奴隷のいるオダリスクの抽象を説明してください。英語で出力して下さい。

Cambridge, Massachusetts
Harvard Art Museums
Jean-Auguste-Dominique Ingres
Massachusetts
Odalisque
Orientalism


section

奴隷のいるオダリスク

medium             = Oil on canvas height_metric      = 72.1 width_metric       = 100.3 city               = Cambridge, Massachusetts museum             = Harvard Art Museums/Fogg Museum}}Odalisque with Slave  is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

Prompt: 奴隷のいるオダリスク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。

Cambridge, Massachusetts
Harvard Art Museums
Jean-Auguste-Dominique Ingres
Massachusetts
Odalisque
Orientalism


section

奴隷のいるオダリスク

medium             = Oil on canvas height_metric      = 72.1 width_metric       = 100.3 city               = Cambridge, Massachusetts museum             = Harvard Art Museums/Fogg Museum}}Odalisque with Slave  is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

Prompt: 奴隷のいるオダリスクに関して、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。

Cambridge, Massachusetts
Harvard Art Museums
Jean-Auguste-Dominique Ingres
Massachusetts
Odalisque
Orientalism


section

奴隷のいるオダリスク

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque . These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger. was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

Prompt: 奴隷のいるオダリスクに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Château de Dampierre
Eugène Delacroix
Grande Odalisque
Louvre
Odalisque
Raymond Balze
Théophile Thoré-Bürger


section

奴隷のいるオダリスク

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque . These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger. was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

Prompt: 奴隷のいるオダリスクの歴史を説明してください。英語で出力して下さい。

Château de Dampierre
Eugène Delacroix
Grande Odalisque
Louvre
Odalisque
Raymond Balze
Théophile Thoré-Bürger


section

奴隷のいるオダリスク

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque . These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger. was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

Prompt: 奴隷のいるオダリスク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。

Château de Dampierre
Eugène Delacroix
Grande Odalisque
Louvre
Odalisque
Raymond Balze
Théophile Thoré-Bürger


section

奴隷のいるオダリスク

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque . These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger. was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

Prompt: 奴隷のいるオダリスクに関して、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。

Château de Dampierre
Eugène Delacroix
Grande Odalisque
Louvre
Odalisque
Raymond Balze
Théophile Thoré-Bürger


section

奴隷のいるオダリスク

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: 奴隷のいるオダリスクに焦点を当てて、その参照を説明してください。英語で出力して下さい。


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奴隷のいるオダリスク

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: 奴隷のいるオダリスクの参照を説明してください。英語で出力して下さい。


section

奴隷のいるオダリスク

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: 奴隷のいるオダリスク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

奴隷のいるオダリスク

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: 奴隷のいるオダリスクに関して、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

奴隷のいるオダリスク

Boime, Albert . Art in an Age of Counterrevolution, 1815-1848. Chicago: University of Chicago Press. Cohn, Marjorie B.; Siegfried, Susan L. . Works by J.-A.-D. Ingres in the Collection of the Fogg Art Museum. Cambridge, Massachusetts: Fogg Art Museum, Harvard Univ. Grimme, Karin H. . Jean-Auguste-Dominique Ingres, 1780-1867. Hong Kong: Taschen. Prat, Louis-Antoine . Ingres. Milan: 5 Continents.

Prompt: 奴隷のいるオダリスクに焦点を当てて、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。

Cambridge, Massachusetts
Jean-Auguste-Dominique Ingres
Massachusetts
Taschen


section

奴隷のいるオダリスク

Boime, Albert . Art in an Age of Counterrevolution, 1815-1848. Chicago: University of Chicago Press. Cohn, Marjorie B.; Siegfried, Susan L. . Works by J.-A.-D. Ingres in the Collection of the Fogg Art Museum. Cambridge, Massachusetts: Fogg Art Museum, Harvard Univ. Grimme, Karin H. . Jean-Auguste-Dominique Ingres, 1780-1867. Hong Kong: Taschen. Prat, Louis-Antoine . Ingres. Milan: 5 Continents.

Prompt: 奴隷のいるオダリスクの参考文献を説明してください。英語で出力して下さい。

Cambridge, Massachusetts
Jean-Auguste-Dominique Ingres
Massachusetts
Taschen


section

奴隷のいるオダリスク

Boime, Albert . Art in an Age of Counterrevolution, 1815-1848. Chicago: University of Chicago Press. Cohn, Marjorie B.; Siegfried, Susan L. . Works by J.-A.-D. Ingres in the Collection of the Fogg Art Museum. Cambridge, Massachusetts: Fogg Art Museum, Harvard Univ. Grimme, Karin H. . Jean-Auguste-Dominique Ingres, 1780-1867. Hong Kong: Taschen. Prat, Louis-Antoine . Ingres. Milan: 5 Continents.

Prompt: 奴隷のいるオダリスク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。

Cambridge, Massachusetts
Jean-Auguste-Dominique Ingres
Massachusetts
Taschen


section

奴隷のいるオダリスク

Boime, Albert . Art in an Age of Counterrevolution, 1815-1848. Chicago: University of Chicago Press. Cohn, Marjorie B.; Siegfried, Susan L. . Works by J.-A.-D. Ingres in the Collection of the Fogg Art Museum. Cambridge, Massachusetts: Fogg Art Museum, Harvard Univ. Grimme, Karin H. . Jean-Auguste-Dominique Ingres, 1780-1867. Hong Kong: Taschen. Prat, Louis-Antoine . Ingres. Milan: 5 Continents.

Prompt: 奴隷のいるオダリスクに関して、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。

Cambridge, Massachusetts
Jean-Auguste-Dominique Ingres
Massachusetts
Taschen


section

アルコレ橋のボナパルト

Bonaparte at the Pont d’Arcole  is an oil-on-canvas painting executed in 1796 by the French artist Antoine-Jean Gros. It depicts an episode during the Battle of Arcole in November 1796, with General Napoleon Bonaparte leading his troops to storm the bridge.

Prompt: アルコレ橋のボナパルトに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Antoine-Jean Gros
Battle of Arcole
Napoleon


section

アルコレ橋のボナパルト

Bonaparte at the Pont d’Arcole  is an oil-on-canvas painting executed in 1796 by the French artist Antoine-Jean Gros. It depicts an episode during the Battle of Arcole in November 1796, with General Napoleon Bonaparte leading his troops to storm the bridge.

Prompt: アルコレ橋のボナパルトの抽象を説明してください。英語で出力して下さい。

Antoine-Jean Gros
Battle of Arcole
Napoleon


section

アルコレ橋のボナパルト

Bonaparte at the Pont d’Arcole  is an oil-on-canvas painting executed in 1796 by the French artist Antoine-Jean Gros. It depicts an episode during the Battle of Arcole in November 1796, with General Napoleon Bonaparte leading his troops to storm the bridge.

Prompt: アルコレ橋のボナパルト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。

Antoine-Jean Gros
Battle of Arcole
Napoleon


section

アルコレ橋のボナパルト

Bonaparte at the Pont d’Arcole  is an oil-on-canvas painting executed in 1796 by the French artist Antoine-Jean Gros. It depicts an episode during the Battle of Arcole in November 1796, with General Napoleon Bonaparte leading his troops to storm the bridge.

Prompt: アルコレ橋のボナパルトに関して、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。

Antoine-Jean Gros
Battle of Arcole
Napoleon


section

アルコレ橋のボナパルト

The painting presents a three-quarter-length image of Bonaparte, holding the flagstaff of the Armée d'Italie in his left hand and his sword in his right – on its blade is the inscription Bonaparte, Armée d'Italie. He is dressed in the dark blue trousers and tunic of a general of the First French Republic, with a gold-embroidered red collar. Beneath them he wears a white shirt and a black neckscarf. He also wears a gold-fringed tricolor cummerbund and a square-buckled belt bearing his empty scabbard. The background suggests the smoke of battle, with a few houses in the distance on the left. The land bordering the river is painted in dark tones, with a smoking cannonball still visible.

Prompt: アルコレ橋のボナパルトに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

アルコレ橋のボナパルト

The painting presents a three-quarter-length image of Bonaparte, holding the flagstaff of the Armée d'Italie in his left hand and his sword in his right – on its blade is the inscription Bonaparte, Armée d'Italie. He is dressed in the dark blue trousers and tunic of a general of the First French Republic, with a gold-embroidered red collar. Beneath them he wears a white shirt and a black neckscarf. He also wears a gold-fringed tricolor cummerbund and a square-buckled belt bearing his empty scabbard. The background suggests the smoke of battle, with a few houses in the distance on the left. The land bordering the river is painted in dark tones, with a smoking cannonball still visible.

Prompt: アルコレ橋のボナパルトの説明を説明してください。英語で出力して下さい。


section

アルコレ橋のボナパルト

The painting presents a three-quarter-length image of Bonaparte, holding the flagstaff of the Armée d'Italie in his left hand and his sword in his right – on its blade is the inscription Bonaparte, Armée d'Italie. He is dressed in the dark blue trousers and tunic of a general of the First French Republic, with a gold-embroidered red collar. Beneath them he wears a white shirt and a black neckscarf. He also wears a gold-fringed tricolor cummerbund and a square-buckled belt bearing his empty scabbard. The background suggests the smoke of battle, with a few houses in the distance on the left. The land bordering the river is painted in dark tones, with a smoking cannonball still visible.

Prompt: アルコレ橋のボナパルトはどのように説明を説明していますか？英語で出力して下さい。


section

アルコレ橋のボナパルト

The painting presents a three-quarter-length image of Bonaparte, holding the flagstaff of the Armée d'Italie in his left hand and his sword in his right – on its blade is the inscription Bonaparte, Armée d'Italie. He is dressed in the dark blue trousers and tunic of a general of the First French Republic, with a gold-embroidered red collar. Beneath them he wears a white shirt and a black neckscarf. He also wears a gold-fringed tricolor cummerbund and a square-buckled belt bearing his empty scabbard. The background suggests the smoke of battle, with a few houses in the distance on the left. The land bordering the river is painted in dark tones, with a smoking cannonball still visible.

Prompt: アルコレ橋のボナパルトに関して、どのように説明が議論されていますか？英語で出力して下さい。


section

アルコレ橋のボナパルト

The painting was commissioned by Joséphine, who was accompanying Napoleon in his Italian Campaign. Painted in Naples in 1796. Napoleon could reportedly not sit still for extended periods of time as a model for the portrait, Joséphine solved this by allowing Napoleon to sit in her lap and embracing him for the duration required by Gros. The painting passed through the collections of Napoleon himself and of Napoleon III before being sequestered after the fall of the Second French Empire in 1870. It was then reacquired by Napoleon III's wife Eugénie de Montijo in 1871, who eight years later gave it to the Louvre . It passed to the château de Compiègne in 1901, then finally the Palace of Versailles in 1938 .

Prompt: アルコレ橋のボナパルトに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Eugénie de Montijo
Louvre
Louvre
Napoleon
Napoleon III
Palace of Versailles
Second French Empire


section

アルコレ橋のボナパルト

The painting was commissioned by Joséphine, who was accompanying Napoleon in his Italian Campaign. Painted in Naples in 1796. Napoleon could reportedly not sit still for extended periods of time as a model for the portrait, Joséphine solved this by allowing Napoleon to sit in her lap and embracing him for the duration required by Gros. The painting passed through the collections of Napoleon himself and of Napoleon III before being sequestered after the fall of the Second French Empire in 1870. It was then reacquired by Napoleon III's wife Eugénie de Montijo in 1871, who eight years later gave it to the Louvre . It passed to the château de Compiègne in 1901, then finally the Palace of Versailles in 1938 .

Prompt: アルコレ橋のボナパルトの歴史を説明してください。英語で出力して下さい。

Eugénie de Montijo
Louvre
Louvre
Napoleon
Napoleon III
Palace of Versailles
Second French Empire


section

アルコレ橋のボナパルト

The painting was commissioned by Joséphine, who was accompanying Napoleon in his Italian Campaign. Painted in Naples in 1796. Napoleon could reportedly not sit still for extended periods of time as a model for the portrait, Joséphine solved this by allowing Napoleon to sit in her lap and embracing him for the duration required by Gros. The painting passed through the collections of Napoleon himself and of Napoleon III before being sequestered after the fall of the Second French Empire in 1870. It was then reacquired by Napoleon III's wife Eugénie de Montijo in 1871, who eight years later gave it to the Louvre . It passed to the château de Compiègne in 1901, then finally the Palace of Versailles in 1938 .

Prompt: アルコレ橋のボナパルト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。

Eugénie de Montijo
Louvre
Louvre
Napoleon
Napoleon III
Palace of Versailles
Second French Empire


section

アルコレ橋のボナパルト

The painting was commissioned by Joséphine, who was accompanying Napoleon in his Italian Campaign. Painted in Naples in 1796. Napoleon could reportedly not sit still for extended periods of time as a model for the portrait, Joséphine solved this by allowing Napoleon to sit in her lap and embracing him for the duration required by Gros. The painting passed through the collections of Napoleon himself and of Napoleon III before being sequestered after the fall of the Second French Empire in 1870. It was then reacquired by Napoleon III's wife Eugénie de Montijo in 1871, who eight years later gave it to the Louvre . It passed to the château de Compiègne in 1901, then finally the Palace of Versailles in 1938 .

Prompt: アルコレ橋のボナパルトに関して、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。

Eugénie de Montijo
Louvre
Louvre
Napoleon
Napoleon III
Palace of Versailles
Second French Empire


section

アルコレ橋のボナパルト

Sketch at the Musée du Louvre, it was approved by Bonaparte as the basis for the final paintingOther versions at: Arenenberg, , Musée Napoléon. Saint Petersburg, Hermitage Museum The painting is sometimes used as a cover for Beethoven's 5 Piano Concerto in Es-Dur, Opus 73.

Prompt: アルコレ橋のボナパルトに焦点を当てて、その関連作品を説明してください。英語で出力して下さい。

Arenenberg
Hermitage Museum
Louvre
Louvre
Saint Petersburg


section

アルコレ橋のボナパルト

Sketch at the Musée du Louvre, it was approved by Bonaparte as the basis for the final paintingOther versions at: Arenenberg, , Musée Napoléon. Saint Petersburg, Hermitage Museum The painting is sometimes used as a cover for Beethoven's 5 Piano Concerto in Es-Dur, Opus 73.

Prompt: アルコレ橋のボナパルトの関連作品を説明してください。英語で出力して下さい。

Arenenberg
Hermitage Museum
Louvre
Louvre
Saint Petersburg


section

アルコレ橋のボナパルト

Sketch at the Musée du Louvre, it was approved by Bonaparte as the basis for the final paintingOther versions at: Arenenberg, , Musée Napoléon. Saint Petersburg, Hermitage Museum The painting is sometimes used as a cover for Beethoven's 5 Piano Concerto in Es-Dur, Opus 73.

Prompt: アルコレ橋のボナパルトはどのように関連作品を説明していますか？英語で出力して下さい。

Arenenberg
Hermitage Museum
Louvre
Louvre
Saint Petersburg


section

アルコレ橋のボナパルト

Sketch at the Musée du Louvre, it was approved by Bonaparte as the basis for the final paintingOther versions at: Arenenberg, , Musée Napoléon. Saint Petersburg, Hermitage Museum The painting is sometimes used as a cover for Beethoven's 5 Piano Concerto in Es-Dur, Opus 73.

Prompt: アルコレ橋のボナパルトに関して、どのように関連作品が議論されていますか？英語で出力して下さい。

Arenenberg
Hermitage Museum
Louvre
Louvre
Saint Petersburg


section

アルコレ橋のボナパルト

Jean-Baptiste Delestre Gros et ses ouvrages éd. Jules bitte 1845 Raymond Escholier Gros ses amis et ses élèves - exhibition at the Petit Palais May-July 1936, éd. Floury Paris 1936  - pp. 1 à 4, plate 1  David O Brien Antoine Jean Gros, peintre de Napoléon Gallimard 2006 -  - chapter 1, une formation en Italie pp.31-40

Prompt: アルコレ橋のボナパルトに焦点を当てて、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。

Jean-Baptiste Delestre
Petit Palais
Raymond Escholier


section

アルコレ橋のボナパルト

Jean-Baptiste Delestre Gros et ses ouvrages éd. Jules bitte 1845 Raymond Escholier Gros ses amis et ses élèves - exhibition at the Petit Palais May-July 1936, éd. Floury Paris 1936  - pp. 1 à 4, plate 1  David O Brien Antoine Jean Gros, peintre de Napoléon Gallimard 2006 -  - chapter 1, une formation en Italie pp.31-40

Prompt: アルコレ橋のボナパルトの参考文献を説明してください。英語で出力して下さい。

Jean-Baptiste Delestre
Petit Palais
Raymond Escholier


section

アルコレ橋のボナパルト

Jean-Baptiste Delestre Gros et ses ouvrages éd. Jules bitte 1845 Raymond Escholier Gros ses amis et ses élèves - exhibition at the Petit Palais May-July 1936, éd. Floury Paris 1936  - pp. 1 à 4, plate 1  David O Brien Antoine Jean Gros, peintre de Napoléon Gallimard 2006 -  - chapter 1, une formation en Italie pp.31-40

Prompt: アルコレ橋のボナパルト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。

Jean-Baptiste Delestre
Petit Palais
Raymond Escholier


section

アルコレ橋のボナパルト

Jean-Baptiste Delestre Gros et ses ouvrages éd. Jules bitte 1845 Raymond Escholier Gros ses amis et ses élèves - exhibition at the Petit Palais May-July 1936, éd. Floury Paris 1936  - pp. 1 à 4, plate 1  David O Brien Antoine Jean Gros, peintre de Napoléon Gallimard 2006 -  - chapter 1, une formation en Italie pp.31-40

Prompt: アルコレ橋のボナパルトに関して、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。

Jean-Baptiste Delestre
Petit Palais
Raymond Escholier


section

尻の美しいウェヌス

}} is an Ancient Roman marble statue, thought to be a copy of an older Greek original. In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them. The subject is conventionally identified as Venus , though it may equally be a portrait of a mortal woman.The marble statue extant today dates to the late 1st century BC. The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic era. The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern era. The head was restored, first in the 16th century and again in the 18th century ; the restored head was made to look over the shoulder, drawing further attention to the statue's bare buttocks, thereby contributing to its popularity. In the 17th and 18th centuries, the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophists. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.

Prompt: 尻の美しいウェヌスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Aphrodite
Athenaeus
François Barois
Jean-Jacques Clérion


section

尻の美しいウェヌス

}} is an Ancient Roman marble statue, thought to be a copy of an older Greek original. In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them. The subject is conventionally identified as Venus , though it may equally be a portrait of a mortal woman.The marble statue extant today dates to the late 1st century BC. The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic era. The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern era. The head was restored, first in the 16th century and again in the 18th century ; the restored head was made to look over the shoulder, drawing further attention to the statue's bare buttocks, thereby contributing to its popularity. In the 17th and 18th centuries, the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophists. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.

Prompt: 尻の美しいウェヌスの抽象を説明してください。英語で出力して下さい。

Aphrodite
Athenaeus
François Barois
Jean-Jacques Clérion


section

尻の美しいウェヌス

}} is an Ancient Roman marble statue, thought to be a copy of an older Greek original. In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them. The subject is conventionally identified as Venus , though it may equally be a portrait of a mortal woman.The marble statue extant today dates to the late 1st century BC. The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic era. The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern era. The head was restored, first in the 16th century and again in the 18th century ; the restored head was made to look over the shoulder, drawing further attention to the statue's bare buttocks, thereby contributing to its popularity. In the 17th and 18th centuries, the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophists. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.

Prompt: 尻の美しいウェヌ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。

Aphrodite
Athenaeus
François Barois
Jean-Jacques Clérion


section

尻の美しいウェヌス

}} is an Ancient Roman marble statue, thought to be a copy of an older Greek original. In an example of anasyrma, it depicts a partially draped woman, raising her light peplos to uncover her hips and buttocks, and looking back and down over her shoulder, perhaps to evaluate them. The subject is conventionally identified as Venus , though it may equally be a portrait of a mortal woman.The marble statue extant today dates to the late 1st century BC. The lost Greek original on which it is based is thought to have been bronze, and to have been executed around 300 BC, towards the beginning of the Hellenistic era. The provenance of the marble copy is unknown, but it was rediscovered, missing its head, in the early modern era. The head was restored, first in the 16th century and again in the 18th century ; the restored head was made to look over the shoulder, drawing further attention to the statue's bare buttocks, thereby contributing to its popularity. In the 17th and 18th centuries, the statue was identified as Venus and associated with a temple to Aphrodite Kallipygos at Syracuse, discussed by Athenaeus in his Deipnosophists. The statue was copied a number of times, including by Jean-Jacques Clérion and François Barois.

Prompt: 尻の美しいウェヌスに関して、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。

Aphrodite
Athenaeus
François Barois
Jean-Jacques Clérion


section

尻の美しいウェヌス

thumb upright 0.75Callipygian Venus The "Venus Kallipygos" in the National Archaeological Museum, Naples is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or "paraphrase" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of the Hellenistic era. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality works of art such as the Venus.The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations of the work. The statue was acquired by the Farnese family and was in the Palazzo Farnese by 1594; it may be the draped Venus described as being in the palace by visitors earlier that century. In the 17th century it is known to have been kept in the palace's Sala dei Filosophi, where it stood surrounded by statues of eighteen ancient philosophers. In 1731 the Farnese estate was inherited by Charles of Bourbon, who moved some of the marbles, including the Venus, across the Tiber River to the Villa Farnesina.In 1786 the Bourbons decided to move the Venus Kallipygos to Naples with the rest of the Farnese collection. First, however, it was sent to be restored by Carlo Albacini. Responding to contemporary criticisms of some of the statue's features, Albacini replaced the head, the arms, and one leg; he followed the previous restoration fairly faithfully in having the figure look back over her shoulder. By 1792 the statue was at the Museum of Capodimonte in Naples, and by 1802 it was in the , now the Naples National Archaeological Museum, where it remains.

Prompt: 尻の美しいウェヌスに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Carlo Albacini
Domus Aurea
Naples
National Archaeological Museum, Naples
National Archaeological Museum, Naples
Nero
Palazzo Farnese
Rome
Tiber
Villa Farnesina


section

尻の美しいウェヌス

thumb upright 0.75Callipygian Venus The "Venus Kallipygos" in the National Archaeological Museum, Naples is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or "paraphrase" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of the Hellenistic era. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality works of art such as the Venus.The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations of the work. The statue was acquired by the Farnese family and was in the Palazzo Farnese by 1594; it may be the draped Venus described as being in the palace by visitors earlier that century. In the 17th century it is known to have been kept in the palace's Sala dei Filosophi, where it stood surrounded by statues of eighteen ancient philosophers. In 1731 the Farnese estate was inherited by Charles of Bourbon, who moved some of the marbles, including the Venus, across the Tiber River to the Villa Farnesina.In 1786 the Bourbons decided to move the Venus Kallipygos to Naples with the rest of the Farnese collection. First, however, it was sent to be restored by Carlo Albacini. Responding to contemporary criticisms of some of the statue's features, Albacini replaced the head, the arms, and one leg; he followed the previous restoration fairly faithfully in having the figure look back over her shoulder. By 1792 the statue was at the Museum of Capodimonte in Naples, and by 1802 it was in the , now the Naples National Archaeological Museum, where it remains.

Prompt: 尻の美しいウェヌスの歴史を説明してください。英語で出力して下さい。

Carlo Albacini
Domus Aurea
Naples
National Archaeological Museum, Naples
National Archaeological Museum, Naples
Nero
Palazzo Farnese
Rome
Tiber
Villa Farnesina


section

尻の美しいウェヌス

thumb upright 0.75Callipygian Venus The "Venus Kallipygos" in the National Archaeological Museum, Naples is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or "paraphrase" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of the Hellenistic era. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality works of art such as the Venus.The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations of the work. The statue was acquired by the Farnese family and was in the Palazzo Farnese by 1594; it may be the draped Venus described as being in the palace by visitors earlier that century. In the 17th century it is known to have been kept in the palace's Sala dei Filosophi, where it stood surrounded by statues of eighteen ancient philosophers. In 1731 the Farnese estate was inherited by Charles of Bourbon, who moved some of the marbles, including the Venus, across the Tiber River to the Villa Farnesina.In 1786 the Bourbons decided to move the Venus Kallipygos to Naples with the rest of the Farnese collection. First, however, it was sent to be restored by Carlo Albacini. Responding to contemporary criticisms of some of the statue's features, Albacini replaced the head, the arms, and one leg; he followed the previous restoration fairly faithfully in having the figure look back over her shoulder. By 1792 the statue was at the Museum of Capodimonte in Naples, and by 1802 it was in the , now the Naples National Archaeological Museum, where it remains.

Prompt: 尻の美しいウェヌス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。

Carlo Albacini
Domus Aurea
Naples
National Archaeological Museum, Naples
National Archaeological Museum, Naples
Nero
Palazzo Farnese
Rome
Tiber
Villa Farnesina


section

尻の美しいウェヌス

thumb upright 0.75Callipygian Venus The "Venus Kallipygos" in the National Archaeological Museum, Naples is a Roman work in marble, dating to the late 1st century BC. It is considered to be a copy or "paraphrase" of an older Greek statue, probably bronze. This lost original is thought to have been created around 300 BC, near the inception of the Hellenistic era. The marble version's sculptor and provenance are unknown. It was rediscovered, missing its head, in Rome by at least the 16th century. It is sometimes said to have been found in the ruins of Emperor Nero's Domus Aurea, though this is unlikely, as fragments uncovered there contained no evidence of high-quality works of art such as the Venus.The missing head was reconstructed in the 16th century. The restorer decided to have the figure look over her shoulder at her own buttocks, a choice that gave the Venus its distinctive pose and had a significant effect on later interpretations of the work. The statue was acquired by the Farnese family and was in the Palazzo Farnese by 1594; it may be the draped Venus described as being in the palace by visitors earlier that century. In the 17th century it is known to have been kept in the palace's Sala dei Filosophi, where it stood surrounded by statues of eighteen ancient philosophers. In 1731 the Farnese estate was inherited by Charles of Bourbon, who moved some of the marbles, including the Venus, across the Tiber River to the Villa Farnesina.In 1786 the Bourbons decided to move the Venus Kallipygos to Naples with the rest of the Farnese collection. First, however, it was sent to be restored by Carlo Albacini. Responding to contemporary criticisms of some of the statue's features, Albacini replaced the head, the arms, and one leg; he followed the previous restoration fairly faithfully in having the figure look back over her shoulder. By 1792 the statue was at the Museum of Capodimonte in Naples, and by 1802 it was in the , now the Naples National Archaeological Museum, where it remains.

Prompt: 尻の美しいウェヌスに関して、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。

Carlo Albacini
Domus Aurea
Naples
National Archaeological Museum, Naples
National Archaeological Museum, Naples
Nero
Palazzo Farnese
Rome
Tiber
Villa Farnesina


section

尻の美しいウェヌス

The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". The restored statue's pose draws further attention to the naked buttocks and gives the figure a distinctly erotic aspect. The restoration recalled in the minds of viewers a story recorded in Athenaeus's Deipnosophists about the founding of a temple of "Aphrodite Kallipygos" in ancient Syracuse, Sicily. According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks and accosted a young passerby to have him judge. They showed themselves off to the traveler, the son of a rich man, and he voted for the elder sister. Subsequently, he became smitten with her and fell ill with love-sickness. Learning what had happened, the man's younger brother went out to see the girls for himself and fell in love with the younger sister. Thereafter the brothers refused to consider any other brides, so their father arranged for the sisters to come marry them. The citizens dubbed the sisters "Kallipugoi" , and with their new-found prosperity, they dedicated a temple to Aphrodite, calling her Kallipygos.Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, Le Imagini. Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the "beautiful-buttocked" girls from Athenaeus's story, and as such it was alternatively known as " Belle Victorieuse" or " Bergère Grecque".In 1836,  called it a "charming statuette" but noted that it was "placed in a reserved hall, where the curious are only introduced under the surveillance of a guardian, though even this precaution has not prevented the rounded forms which won for the goddess the name of Callipyge, from being covered with a dark tint, which betrays the profane kisses that fanatic admirers have every day impressed there. We ourselves knew a young German tourist smitten with a mad passion for this voluptuous marble; and the commiseration his state of mind inspired set aside all idea of ridicule."

Prompt: 尻の美しいウェヌスに焦点を当てて、その解釈を説明してください。英語で出力して下さい。

Aphrodite
Athenaeus
Clement of Alexandria
Syracuse, Sicily
Vincenzo Cartari


section

尻の美しいウェヌス

The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". The restored statue's pose draws further attention to the naked buttocks and gives the figure a distinctly erotic aspect. The restoration recalled in the minds of viewers a story recorded in Athenaeus's Deipnosophists about the founding of a temple of "Aphrodite Kallipygos" in ancient Syracuse, Sicily. According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks and accosted a young passerby to have him judge. They showed themselves off to the traveler, the son of a rich man, and he voted for the elder sister. Subsequently, he became smitten with her and fell ill with love-sickness. Learning what had happened, the man's younger brother went out to see the girls for himself and fell in love with the younger sister. Thereafter the brothers refused to consider any other brides, so their father arranged for the sisters to come marry them. The citizens dubbed the sisters "Kallipugoi" , and with their new-found prosperity, they dedicated a temple to Aphrodite, calling her Kallipygos.Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, Le Imagini. Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the "beautiful-buttocked" girls from Athenaeus's story, and as such it was alternatively known as " Belle Victorieuse" or " Bergère Grecque".In 1836,  called it a "charming statuette" but noted that it was "placed in a reserved hall, where the curious are only introduced under the surveillance of a guardian, though even this precaution has not prevented the rounded forms which won for the goddess the name of Callipyge, from being covered with a dark tint, which betrays the profane kisses that fanatic admirers have every day impressed there. We ourselves knew a young German tourist smitten with a mad passion for this voluptuous marble; and the commiseration his state of mind inspired set aside all idea of ridicule."

Prompt: 尻の美しいウェヌスの解釈を説明してください。英語で出力して下さい。

Aphrodite
Athenaeus
Clement of Alexandria
Syracuse, Sicily
Vincenzo Cartari


section

尻の美しいウェヌス

The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". The restored statue's pose draws further attention to the naked buttocks and gives the figure a distinctly erotic aspect. The restoration recalled in the minds of viewers a story recorded in Athenaeus's Deipnosophists about the founding of a temple of "Aphrodite Kallipygos" in ancient Syracuse, Sicily. According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks and accosted a young passerby to have him judge. They showed themselves off to the traveler, the son of a rich man, and he voted for the elder sister. Subsequently, he became smitten with her and fell ill with love-sickness. Learning what had happened, the man's younger brother went out to see the girls for himself and fell in love with the younger sister. Thereafter the brothers refused to consider any other brides, so their father arranged for the sisters to come marry them. The citizens dubbed the sisters "Kallipugoi" , and with their new-found prosperity, they dedicated a temple to Aphrodite, calling her Kallipygos.Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, Le Imagini. Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the "beautiful-buttocked" girls from Athenaeus's story, and as such it was alternatively known as " Belle Victorieuse" or " Bergère Grecque".In 1836,  called it a "charming statuette" but noted that it was "placed in a reserved hall, where the curious are only introduced under the surveillance of a guardian, though even this precaution has not prevented the rounded forms which won for the goddess the name of Callipyge, from being covered with a dark tint, which betrays the profane kisses that fanatic admirers have every day impressed there. We ourselves knew a young German tourist smitten with a mad passion for this voluptuous marble; and the commiseration his state of mind inspired set aside all idea of ridicule."

Prompt: 尻の美しいウェヌスはどのように解釈を説明していますか？英語で出力して下さい。

Aphrodite
Athenaeus
Clement of Alexandria
Syracuse, Sicily
Vincenzo Cartari


section

尻の美しいウェヌス

The restorers' decision to have the figure look over her back greatly affected subsequent interpretations, to the point that the classicists Mary Beard and J. G. W. Henderson describe it as having "created a 'masterpiece' in place of a fragment". The restored statue's pose draws further attention to the naked buttocks and gives the figure a distinctly erotic aspect. The restoration recalled in the minds of viewers a story recorded in Athenaeus's Deipnosophists about the founding of a temple of "Aphrodite Kallipygos" in ancient Syracuse, Sicily. According to Athenaeus, two beautiful sisters from a farm near Syracuse argued over which of them had the shapelier buttocks and accosted a young passerby to have him judge. They showed themselves off to the traveler, the son of a rich man, and he voted for the elder sister. Subsequently, he became smitten with her and fell ill with love-sickness. Learning what had happened, the man's younger brother went out to see the girls for himself and fell in love with the younger sister. Thereafter the brothers refused to consider any other brides, so their father arranged for the sisters to come marry them. The citizens dubbed the sisters "Kallipugoi" , and with their new-found prosperity, they dedicated a temple to Aphrodite, calling her Kallipygos.Other sources mention the cult of Aphrodite Kallipygos at Syracuse. The Christian writer Clement of Alexandria includes it in a list of erotic manifestations of pagan religion. From the 16th century, Athenaeus's tale circulated in Vincenzo Cartari's retelling of stories from classical mythology, Le Imagini. Many viewers of the 17th and 18th centuries identified the statue's subject as the goddess and supposed the work to be a cult statue from the temple of Venus Kallipygos. It was thus often described at the time as Venus exiting the bath. Others identified it instead with one of the "beautiful-buttocked" girls from Athenaeus's story, and as such it was alternatively known as " Belle Victorieuse" or " Bergère Grecque".In 1836,  called it a "charming statuette" but noted that it was "placed in a reserved hall, where the curious are only introduced under the surveillance of a guardian, though even this precaution has not prevented the rounded forms which won for the goddess the name of Callipyge, from being covered with a dark tint, which betrays the profane kisses that fanatic admirers have every day impressed there. We ourselves knew a young German tourist smitten with a mad passion for this voluptuous marble; and the commiseration his state of mind inspired set aside all idea of ridicule."

Prompt: 尻の美しいウェヌスに関して、どのように解釈が議論されていますか？英語で出力して下さい。

Aphrodite
Athenaeus
Clement of Alexandria
Syracuse, Sicily
Vincenzo Cartari


section

尻の美しいウェヌス

A marble copy by Jean-Jacques Clérion  was sent to Versailles. Another copy was made by François Barois during his residence at the French Academy in Rome, 1683–1686. It was sent to Versailles, then to Marly-le-Roi in 1695, where it was provided with additional marble draperies by Jean Thierry, not to offend an increasingly prudish public taste; it remained at Marly until the Revolution, when it found its way to the Jardin des Tuileries.Augustus the Strong ordered a copy, which was executed by Pierre de l'Estache in Rome between 1722 and 1723, for the Grosser Garten, Dresden. However, it was destroyed in 1945.Sir Henry Hoare, 5th Baronet commissioned a copy of the Venus  to be embedded in the niches of the newly constructed Pantheon on the Stourhead Estate in 1753–54.

Prompt: 尻の美しいウェヌスに焦点を当てて、その現代のコピーを説明してください。英語で出力して下さい。

François Barois
French Academy in Rome
Jean-Jacques Clérion
Marly-le-Roi
Pierre de l'Estache
Rome
Sir Henry Hoare, 5th Baronet
Stourhead


section

尻の美しいウェヌス

A marble copy by Jean-Jacques Clérion  was sent to Versailles. Another copy was made by François Barois during his residence at the French Academy in Rome, 1683–1686. It was sent to Versailles, then to Marly-le-Roi in 1695, where it was provided with additional marble draperies by Jean Thierry, not to offend an increasingly prudish public taste; it remained at Marly until the Revolution, when it found its way to the Jardin des Tuileries.Augustus the Strong ordered a copy, which was executed by Pierre de l'Estache in Rome between 1722 and 1723, for the Grosser Garten, Dresden. However, it was destroyed in 1945.Sir Henry Hoare, 5th Baronet commissioned a copy of the Venus  to be embedded in the niches of the newly constructed Pantheon on the Stourhead Estate in 1753–54.

Prompt: 尻の美しいウェヌスの現代のコピーを説明してください。英語で出力して下さい。

François Barois
French Academy in Rome
Jean-Jacques Clérion
Marly-le-Roi
Pierre de l'Estache
Rome
Sir Henry Hoare, 5th Baronet
Stourhead


section

尻の美しいウェヌス

A marble copy by Jean-Jacques Clérion  was sent to Versailles. Another copy was made by François Barois during his residence at the French Academy in Rome, 1683–1686. It was sent to Versailles, then to Marly-le-Roi in 1695, where it was provided with additional marble draperies by Jean Thierry, not to offend an increasingly prudish public taste; it remained at Marly until the Revolution, when it found its way to the Jardin des Tuileries.Augustus the Strong ordered a copy, which was executed by Pierre de l'Estache in Rome between 1722 and 1723, for the Grosser Garten, Dresden. However, it was destroyed in 1945.Sir Henry Hoare, 5th Baronet commissioned a copy of the Venus  to be embedded in the niches of the newly constructed Pantheon on the Stourhead Estate in 1753–54.

Prompt: 尻の美しいウェヌスはどのように現代のコピーを説明していますか？英語で出力して下さい。

François Barois
French Academy in Rome
Jean-Jacques Clérion
Marly-le-Roi
Pierre de l'Estache
Rome
Sir Henry Hoare, 5th Baronet
Stourhead


section

尻の美しいウェヌス

A marble copy by Jean-Jacques Clérion  was sent to Versailles. Another copy was made by François Barois during his residence at the French Academy in Rome, 1683–1686. It was sent to Versailles, then to Marly-le-Roi in 1695, where it was provided with additional marble draperies by Jean Thierry, not to offend an increasingly prudish public taste; it remained at Marly until the Revolution, when it found its way to the Jardin des Tuileries.Augustus the Strong ordered a copy, which was executed by Pierre de l'Estache in Rome between 1722 and 1723, for the Grosser Garten, Dresden. However, it was destroyed in 1945.Sir Henry Hoare, 5th Baronet commissioned a copy of the Venus  to be embedded in the niches of the newly constructed Pantheon on the Stourhead Estate in 1753–54.

Prompt: 尻の美しいウェヌスに関して、どのように現代のコピーが議論されていますか？英語で出力して下さい。

François Barois
French Academy in Rome
Jean-Jacques Clérion
Marly-le-Roi
Pierre de l'Estache
Rome
Sir Henry Hoare, 5th Baronet
Stourhead


section

尻の美しいウェヌス

The 19th-century identification was repopularised by the 20th-century lyrics of the French lyricist Georges Brassens, in his "Vénus Callipyge", which seems explicitly to reference Jean de  Fontaine in his , among the posthumous tales , which paraphrases Athenaeus's account and ends in direct reference to the famous buttocks:Metallic Venus, Jeff Koons's modern interpretation made of polished steel, is from his Antiquity Series. The highly erotic, chrome-finished sculpture celebrates the original themes of beauty, fertility, and innocence but with a modern perspective. Fresh flowers in the piece are replaced daily, representing the throwaway, consumerist culture of modern society.

Prompt: 尻の美しいウェヌスに焦点を当てて、その現代の感謝を説明してください。英語で出力して下さい。


section

尻の美しいウェヌス

The 19th-century identification was repopularised by the 20th-century lyrics of the French lyricist Georges Brassens, in his "Vénus Callipyge", which seems explicitly to reference Jean de  Fontaine in his , among the posthumous tales , which paraphrases Athenaeus's account and ends in direct reference to the famous buttocks:Metallic Venus, Jeff Koons's modern interpretation made of polished steel, is from his Antiquity Series. The highly erotic, chrome-finished sculpture celebrates the original themes of beauty, fertility, and innocence but with a modern perspective. Fresh flowers in the piece are replaced daily, representing the throwaway, consumerist culture of modern society.

Prompt: 尻の美しいウェヌスの現代の感謝を説明してください。英語で出力して下さい。


section

尻の美しいウェヌス

The 19th-century identification was repopularised by the 20th-century lyrics of the French lyricist Georges Brassens, in his "Vénus Callipyge", which seems explicitly to reference Jean de  Fontaine in his , among the posthumous tales , which paraphrases Athenaeus's account and ends in direct reference to the famous buttocks:Metallic Venus, Jeff Koons's modern interpretation made of polished steel, is from his Antiquity Series. The highly erotic, chrome-finished sculpture celebrates the original themes of beauty, fertility, and innocence but with a modern perspective. Fresh flowers in the piece are replaced daily, representing the throwaway, consumerist culture of modern society.

Prompt: 尻の美しいウェヌスはどのように現代の感謝を説明していますか？英語で出力して下さい。


section

尻の美しいウェヌス

The 19th-century identification was repopularised by the 20th-century lyrics of the French lyricist Georges Brassens, in his "Vénus Callipyge", which seems explicitly to reference Jean de  Fontaine in his , among the posthumous tales , which paraphrases Athenaeus's account and ends in direct reference to the famous buttocks:Metallic Venus, Jeff Koons's modern interpretation made of polished steel, is from his Antiquity Series. The highly erotic, chrome-finished sculpture celebrates the original themes of beauty, fertility, and innocence but with a modern perspective. Fresh flowers in the piece are replaced daily, representing the throwaway, consumerist culture of modern society.

Prompt: 尻の美しいウェヌスに関して、どのように現代の感謝が議論されていますか？英語で出力して下さい。


section

尻の美しいウェヌス

Dericksen Brinkerhoff, review of Aphrodite Kallipygos by Gosta Saflund and Peter M. Fraser - American Journal of Archaeology, Vol. 69, No. 1 , pp. 78–79.

Prompt: 尻の美しいウェヌスに焦点を当てて、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

尻の美しいウェヌス

Dericksen Brinkerhoff, review of Aphrodite Kallipygos by Gosta Saflund and Peter M. Fraser - American Journal of Archaeology, Vol. 69, No. 1 , pp. 78–79.

Prompt: 尻の美しいウェヌ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

尻の美しいウェヌス

Dericksen Brinkerhoff, review of Aphrodite Kallipygos by Gosta Saflund and Peter M. Fraser - American Journal of Archaeology, Vol. 69, No. 1 , pp. 78–79.

Prompt: 尻の美しいウェヌ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

尻の美しいウェヌス

Dericksen Brinkerhoff, review of Aphrodite Kallipygos by Gosta Saflund and Peter M. Fraser - American Journal of Archaeology, Vol. 69, No. 1 , pp. 78–79.

Prompt: 尻の美しいウェヌスに関して、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

ディアナとニンフたち

medium        = Oil on canvas height_metric = 98.5 width_metric  = 105 metric_unit   = cm imperial_unit = in city          = The Hague museum        = Mauritshuis movement      = Dutch Golden Age painting}}Diana and Her Companions  is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective  moment would grow stronger in Vermeer's paintings as his career progressed.Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered  until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century.

Prompt: ディアナとニンフ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。

Dutch Golden Age painting
Johannes Vermeer
Mauritshuis
The Hague


section

ディアナとニンフたち

medium        = Oil on canvas height_metric = 98.5 width_metric  = 105 metric_unit   = cm imperial_unit = in city          = The Hague museum        = Mauritshuis movement      = Dutch Golden Age painting}}Diana and Her Companions  is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective  moment would grow stronger in Vermeer's paintings as his career progressed.Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered  until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century.

Prompt: ディアナとニンフたちの抽象を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Johannes Vermeer
Mauritshuis
The Hague


section

ディアナとニンフたち

medium        = Oil on canvas height_metric = 98.5 width_metric  = 105 metric_unit   = cm imperial_unit = in city          = The Hague museum        = Mauritshuis movement      = Dutch Golden Age painting}}Diana and Her Companions  is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective  moment would grow stronger in Vermeer's paintings as his career progressed.Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered  until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century.

Prompt: ディアナとニンフ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。

Dutch Golden Age painting
Johannes Vermeer
Mauritshuis
The Hague


section

ディアナとニンフたち

medium        = Oil on canvas height_metric = 98.5 width_metric  = 105 metric_unit   = cm imperial_unit = in city          = The Hague museum        = Mauritshuis movement      = Dutch Golden Age painting}}Diana and Her Companions  is a painting by Dutch artist Johannes Vermeer completed in the early to mid-1650s, now at the Mauritshuis museum in The Hague. Although the exact year is unknown, the work may be the earliest painting of the artist still extant, with some art historians placing it before Christ in the House of Martha and Mary and some after.The painting's solemn mood is unusual for a scene depicting the goddess Diana, and the nymph washing the central figure's feet has captured the attention of critics and historians, both for her activity and contemporary clothing. Rather than directly illustrating one of the dramatic moments in well-known episodes from myths about Diana, the scene shows a woman and her attendants quietly at her toilette. The theme of a woman in a private, reflective  moment would grow stronger in Vermeer's paintings as his career progressed.Nothing of the work's history before the mid-19th century is known, and the painting was not widely accepted as one of Vermeer's until the early 20th century, when its similarities with Mary and Martha were noticed. About one ninth of the painting's width has been removed from the right side, and it was not discovered  until 1999 or 2000 was that the sky in the upper right-hand corner had been added in the 19th century.

Prompt: ディアナとニンフたちに関して、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。

Dutch Golden Age painting
Johannes Vermeer
Mauritshuis
The Hague


section

ディアナとニンフたち

According to Arthur K. Wheelock Jr., the painting "has no visual precedent". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.Nor does the painting use Diana as an allegorical portrait, a tradition for which had developed by the mid-17th century, with identifiable women depicted as the goddess, who was also a symbol of chastity. An example of this tradition is Diana and Her Nymphs, painted by Jacob van Loo in Amsterdam around 1648, about seven or eight years before Vermeer's work. (Vermeer's Diana has frequently been compared to van Loo's. In van Loo's painting, Diana also sits in a forest clearing with a small group of companions, but the mood is very different.Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict subjects. Some features of Diana share the effects and techniques of Rembrandt. Diana's stout figure is much like those in Rembrandt's work, and Vermeer used thick impasto brushwork following the lines of the folds of her clothing, as Rembrandt did. Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene. Vermeer's painting is very similar in feeling to Rembrandt's Bathsheba, painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock. The poses of the woman whose feet is washed and the one doing the washing are similar. It is possible that Rembrandt's former pupil, Carel Fabritius , may have made Vermeer familiar with Rembrandt's work.Doubts about the attribution of the painting remained until about 1901, the year Abraham Bredius and Willem Martin, deputy director of the Mauritshuis, discovered its similarities in coloring and technique with Martha and Mary, which was signed by Vermeer, and in colors with The Procuress, another very early Vermeer work.

Prompt: ディアナとニンフたちに焦点を当てて、その帰属、他の作品との関係を説明してください。英語で出力して下さい。

Abraham Bredius
Actaeon
Arthur K. Wheelock Jr.
Carel Fabritius
Jacob van Loo
Mauritshuis
Rembrandt


section

ディアナとニンフたち

According to Arthur K. Wheelock Jr., the painting "has no visual precedent". As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century. Nor does the artist show Diana's hot temper or her harsh reactions to those episodes. The goddess's ability as a huntress is not signalled by dead game or bows and arrows. Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.Nor does the painting use Diana as an allegorical portrait, a tradition for which had developed by the mid-17th century, with identifiable women depicted as the goddess, who was also a symbol of chastity. An example of this tradition is Diana and Her Nymphs, painted by Jacob van Loo in Amsterdam around 1648, about seven or eight years before Vermeer's work. (Vermeer's Diana has frequently been compared to van Loo's. In van Loo's painting, Diana also sits in a forest clearing with a small group of companions, but the mood is very different.Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict subjects. Some features of Diana share the effects and techniques of Rembrandt. Diana's stout figure is much like those in Rembrandt's work, and Vermeer used thick impasto brushwork following the lines of the folds of her clothing, as Rembrandt did. Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene. Vermeer's painting is very similar in feeling to Rembrandt's Bathsheba, painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock. The poses of the woman whose feet is washed and the one doing the washing are similar. It is possible that Rembrandt's former pupil, Carel Fabritius , may have made Vermeer familiar with Rembrandt's work.Doubts about the attribution of the painting remained until about 1901, the year Abraham Bredius and Willem Martin, deputy director of the Mauritshuis, discovered its similarities in coloring and technique with Martha and Mary, which was signed by Vermeer, and in colors with The Procuress, another very early Vermeer work.

Prompt: ディアナとニンフたちの帰属、他の作品との関係を説明してください。英語で出力して下さい。

Abraham Bredius
Actaeon
Arthur K. Wheelock Jr.
Carel Fabritius
Jacob van Loo
Mauritshuis
Rembrandt