section

マラーの死

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Prompt: マラーの死はどのようにデイビッドの政治を説明していますか？英語で出力して下さい。

Committee of General Security
Committee of Public Instruction
Louis XVI
National Convention


section

マラーの死

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Prompt: マラーの死に関して、どのようにデイビッドの政治が議論されていますか？英語で出力して下さい。

Committee of General Security
Committee of Public Instruction
Louis XVI
National Convention


section

マラーの死

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marats drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Prompt: マラーの死に焦点を当てて、そのスタイルを説明してください。英語で出力して下さい。


section

マラーの死

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marats drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Prompt: マラーの死のスタイルを説明してください。英語で出力して下さい。


section

マラーの死

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marats drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Prompt: マラーの死はどのようにスタイルを説明していますか？英語で出力して下さい。


section

マラーの死

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marats drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Prompt: マラーの死に関して、どのようにスタイルが議論されていますか？英語で出力して下さい。


section

マラーの死

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets  and writers .  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Prompt: マラーの死に焦点を当てて、その後史を説明してください。英語で出力して下さい。

Charles Baudelaire
Charlotte Corday
Edvard Munch
Pablo Picasso
Pierre-Joseph Proudhon
Reign of Terror
Robert Lindsay, 29th Earl of Crawford


section

マラーの死

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets  and writers .  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Prompt: マラーの死の後史を説明してください。英語で出力して下さい。

Charles Baudelaire
Charlotte Corday
Edvard Munch
Pablo Picasso
Pierre-Joseph Proudhon
Reign of Terror
Robert Lindsay, 29th Earl of Crawford


section

マラーの死

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets  and writers .  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Prompt: マラーの死はどのように後史を説明していますか？英語で出力して下さい。

Charles Baudelaire
Charlotte Corday
Edvard Munch
Pablo Picasso
Pierre-Joseph Proudhon
Reign of Terror
Robert Lindsay, 29th Earl of Crawford


section

マラーの死

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets  and writers .  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Prompt: マラーの死に関して、どのように後史が議論されていますか？英語で出力して下さい。

Charles Baudelaire
Charlotte Corday
Edvard Munch
Pablo Picasso
Pierre-Joseph Proudhon
Reign of Terror
Robert Lindsay, 29th Earl of Crawford


section

マラーの死

In 1897, the French director Georges Hatot made a movie entitled  Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.  The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon. The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting. Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait. Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel , slouches back in his tub, one arm extended outside the tub. Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand. In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter,  The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness. The painting was used as the album art for American band The New Regime’s 2008 album  Coup. In the 23 October 2008, episode of CSI: Crime Scene Investigation  a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting. In 2013, it was gender-swapped with dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive". The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat. Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix .

Prompt: マラーの死に焦点を当てて、その大衆文化でを説明してください。英語で出力して下さい。

Alpha Zulu
Andrew Bird
Andrzej Wajda
Caravaggio
Cold Chisel
Deathconsciousness
Derek Jarman
Georges Hatot
Have a Nice Life
Jason Flemyng
My Finest Work Yet
My Year of Rest and Relaxation
Ottessa Moshfegh
R.E.M.
Stanley Kubrick
Steve Goodman
The Red Violin


section

マラーの死

In 1897, the French director Georges Hatot made a movie entitled  Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.  The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon. The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting. Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait. Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel , slouches back in his tub, one arm extended outside the tub. Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand. In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter,  The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness. The painting was used as the album art for American band The New Regime’s 2008 album  Coup. In the 23 October 2008, episode of CSI: Crime Scene Investigation  a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting. In 2013, it was gender-swapped with dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive". The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat. Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix .

Prompt: マラーの死の大衆文化でを説明してください。英語で出力して下さい。

Alpha Zulu
Andrew Bird
Andrzej Wajda
Caravaggio
Cold Chisel
Deathconsciousness
Derek Jarman
Georges Hatot
Have a Nice Life
Jason Flemyng
My Finest Work Yet
My Year of Rest and Relaxation
Ottessa Moshfegh
R.E.M.
Stanley Kubrick
Steve Goodman
The Red Violin


section

マラーの死

In 1897, the French director Georges Hatot made a movie entitled  Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.  The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon. The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting. Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait. Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel , slouches back in his tub, one arm extended outside the tub. Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand. In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter,  The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness. The painting was used as the album art for American band The New Regime’s 2008 album  Coup. In the 23 October 2008, episode of CSI: Crime Scene Investigation  a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting. In 2013, it was gender-swapped with dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive". The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat. Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix .

Prompt: マラーの死はどのように大衆文化でを説明していますか？英語で出力して下さい。

Alpha Zulu
Andrew Bird
Andrzej Wajda
Caravaggio
Cold Chisel
Deathconsciousness
Derek Jarman
Georges Hatot
Have a Nice Life
Jason Flemyng
My Finest Work Yet
My Year of Rest and Relaxation
Ottessa Moshfegh
R.E.M.
Stanley Kubrick
Steve Goodman
The Red Violin


section

マラーの死

In 1897, the French director Georges Hatot made a movie entitled  Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.  The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon. The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting. Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait. Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel , slouches back in his tub, one arm extended outside the tub. Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand. In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter,  The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness. The painting was used as the album art for American band The New Regime’s 2008 album  Coup. In the 23 October 2008, episode of CSI: Crime Scene Investigation  a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting. In 2013, it was gender-swapped with dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive". The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat. Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix .

Prompt: マラーの死に関して、どのように大衆文化でが議論されていますか？英語で出力して下さい。

Alpha Zulu
Andrew Bird
Andrzej Wajda
Caravaggio
Cold Chisel
Deathconsciousness
Derek Jarman
Georges Hatot
Have a Nice Life
Jason Flemyng
My Finest Work Yet
My Year of Rest and Relaxation
Ottessa Moshfegh
R.E.M.
Stanley Kubrick
Steve Goodman
The Red Violin


section

マラーの死

List of paintings by Jacques-Louis David

Prompt: マラーの死に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

マラーの死

List of paintings by Jacques-Louis David

Prompt: マラーの死の参照を説明してください。英語で出力して下さい。


section

マラーの死

List of paintings by Jacques-Louis David

Prompt: マラーの死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

マラーの死

List of paintings by Jacques-Louis David

Prompt: マラーの死に関して、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

マラーの死

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp. 13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 , pp. 605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp. 131–144 Simon, Robert, "David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 , pp. 459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, "Marat : du portrait à la peinture d'histoire"] Malvone, ura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l’Art, n°142,  pp. 45–83 Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, " Morte di Marat e la Pietà di Michelangelo" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,

Prompt: マラーの死に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。

Jacques-Louis David
Louvre
Mélanges de l'École française de Rome


section

マラーの死

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp. 13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 , pp. 605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp. 131–144 Simon, Robert, "David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 , pp. 459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, "Marat : du portrait à la peinture d'histoire"] Malvone, ura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l’Art, n°142,  pp. 45–83 Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, " Morte di Marat e la Pietà di Michelangelo" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,

Prompt: マラーの死の参考文献を説明してください。英語で出力して下さい。

Jacques-Louis David
Louvre
Mélanges de l'École française de Rome


section

マラーの死

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp. 13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 , pp. 605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp. 131–144 Simon, Robert, "David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 , pp. 459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, "Marat : du portrait à la peinture d'histoire"] Malvone, ura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l’Art, n°142,  pp. 45–83 Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, " Morte di Marat e la Pietà di Michelangelo" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,

Prompt: マラーの死はどのように参考文献を説明していますか？英語で出力して下さい。

Jacques-Louis David
Louvre
Mélanges de l'École française de Rome


section

マラーの死

T J Clark, "Painting in the Year Two", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp. 13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp. 62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., "An antique model for David's Marat" in The Burlington Magazine CXXV, 967 , pp. 605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp. 131–144 Simon, Robert, "David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation" in Art History, vol.14, n°4 , pp. 459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, "Marat : du portrait à la peinture d'histoire"] Malvone, ura, "L'Évènement politique en peinture. A propos du Marat de David" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, "Un album inédit de David", Revue de l’Art, n°142,  pp. 45–83 Coquard, Olivier, "Marat assassiné. Reconstitution abusive" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, " Morte di Marat e la Pietà di Michelangelo" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,

Prompt: マラーの死に関して、どのように参考文献が議論されていますか？英語で出力して下さい。

Jacques-Louis David
Louvre
Mélanges de l'École française de Rome


section

ガブリエル・デストレとその妹

Gabrielle d'Estrées et une de ses soeurs  is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.

Prompt: ガブリエル・デストレとその妹に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

ガブリエル・デストレとその妹

Gabrielle d'Estrées et une de ses soeurs  is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.

Prompt: ガブリエル・デストレとその妹の抽象を説明してください。英語で出力して下さい。


section

ガブリエル・デストレとその妹

Gabrielle d'Estrées et une de ses soeurs  is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.

Prompt: ガブリエル・デストレとその妹はどのように抽象を説明していますか？英語で出力して下さい。


section

ガブリエル・デストレとその妹

Gabrielle d'Estrées et une de ses soeurs  is a painting by an unknown artist dated c. 1594. It is in the Louvre in Paris and is usually thought to be the work of a painter from the Fontainebleau School.

Prompt: ガブリエル・デストレとその妹に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

ガブリエル・デストレとその妹

The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.

Prompt: ガブリエル・デストレとその妹に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

ガブリエル・デストレとその妹

The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.

Prompt: ガブリエル・デストレとその妹の説明を説明してください。英語で出力して下さい。


section

ガブリエル・デストレとその妹

The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.

Prompt: ガブリエル・デストレとその妹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

ガブリエル・デストレとその妹

The painting portrays Gabrielle d'Estrées, mistress of King Henry IV of France, sitting nude in a bath, holding a ring. Her sister Julienne-Hyppolite-Joséphine sits nude beside her and pinches d'Estrées' right nipple.

Prompt: ガブリエル・デストレとその妹に関して、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

ガブリエル・デストレとその妹

In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de cey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de cey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."

Prompt: ガブリエル・デストレとその妹に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

ガブリエル・デストレとその妹

In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de cey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de cey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."

Prompt: ガブリエル・デストレとその妹の歴史を説明してください。英語で出力して下さい。


section

ガブリエル・デストレとその妹

In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de cey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de cey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."

Prompt: ガブリエル・デストレとその妹はどのように歴史を説明していますか？英語で出力して下さい。


section

ガブリエル・デストレとその妹

In the early years of the seventeenth century, Pierre de Bourdeille, seigneur de Brantôme told a story about a group of people who went to view the painting. He described the painting as showing "fair naked ladies" together in a bath, and adds that they "touch, and feel, and handle, and stroke, one the other, and intertwine and fondle with each other." Brantôme claims he was told that, while the group was viewing the painting, "a certain great lady... losing all restraint of herself before the picture, [did] say to her lover, turning toward him maddened as it were at the madness of love she beheld painted; 'Too long have we tarried here. Let us now straightway take coach and so to my lodging; for that no more can I hold in the ardour that is in me. Needs must away and quench it; too sore do I burn...'"During the first half of the nineteenth century, Gabrielle d'Estrées et une de ses soeurs hung in the Prefecture of Police in Paris. Dr. Ver Heyden de cey stated in an article from 1935 that "Nobody knew why or how it came there; [it was] placed above a door in one of the halls to which the public had access." He explained that one day, a "pusillanimous high official" noticed the painting and "conceived [of] the idea to screen the picture...from the curious public gaze, by drawing a green curtain in front of it." His action suggested that the official considered the painting to be erotic or even obscene, but instead of removing it, he had it veiled, and thus visibly marked the image as an open secret, or as something which should not be seen. At some point after that, Dr. Ver Heyden de cey claimed that "Somebody had the happy inspiration to expose [the veiled image] to the artistic and art-trained eyes of those called upon to take part in [a] civic function [at the police station] ... In preparation [for this] special function ... a thorough cleaning of the picture itself was ordered .... [But] Upon drawing the curtain, [they found only] an empty picture frame."

Prompt: ガブリエル・デストレとその妹に関して、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。


section

ガブリエル・デストレとその妹

Rebecca Zorach. "Desiring Things." Art History 24.2 : 195–212.

Prompt: ガブリエル・デストレとその妹に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

ガブリエル・デストレとその妹

Rebecca Zorach. "Desiring Things." Art History 24.2 : 195–212.

Prompt: ガブリエル・デストレとその妹のさらなる読書を説明してください。英語で出力して下さい。


section

ガブリエル・デストレとその妹

Rebecca Zorach. "Desiring Things." Art History 24.2 : 195–212.

Prompt: ガブリエル・デストレとその妹はどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

ガブリエル・デストレとその妹

Rebecca Zorach. "Desiring Things." Art History 24.2 : 195–212.

Prompt: ガブリエル・デストレとその妹に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


subsection

ガブリエル・デストレとその妹

The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.

Prompt: ガブリエル・デストレとその妹の文脈で、伝統的, 発表, ガブリエル, 妊娠と歴史を説明してください。英語で出力して下さい。


subsection

ガブリエル・デストレとその妹

The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.

Prompt: ガブリエル・デストレとその妹の歴史に関する伝統的, 発表, ガブリエル, 妊娠を説明してください。英語で出力して下さい。


subsection

ガブリエル・デストレとその妹

The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.

Prompt: ガブリエル・デストレとその妹では、どのように歴史の伝統的, 発表, ガブリエル, 妊娠が説明されていますか？英語で出力して下さい。


subsection

ガブリエル・デストレとその妹

The nipple-pinching gesture has been interpreted as a symbolic announcement that Gabrielle is pregnant with Henry's child, César de Bourbon. According to the Louvre's website: "The oddly affectionate way in which the sister is pinching Gabrielle d'Estrées' right breast has often been taken as symbolizing the latter's pregnancy with the illegitimate child of Henry IV. This interpretation would seem to be confirmed by the scene of the young woman sewing – perhaps preparing a layette for the coming child – in the background." The ring that Gabrielle holds is said to be Henry's coronation ring, which he may have given to her as a token of his love shortly before she died.

Prompt: ガブリエル・デストレとその妹の歴史における伝統的, 発表, ガブリエル, 妊娠の特徴を説明してください。英語で出力して下さい。


subsection

ガブリエル・デストレとその妹

In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.

Prompt: ガブリエル・デストレとその妹の文脈で、現代解釈と歴史を説明してください。英語で出力して下さい。

Bonnie Zimmerman
Gabrielle d'Estrées
LGBT


subsection

ガブリエル・デストレとその妹

In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.

Prompt: ガブリエル・デストレとその妹の歴史に関する現代解釈を説明してください。英語で出力して下さい。

Bonnie Zimmerman
Gabrielle d'Estrées
LGBT


subsection

ガブリエル・デストレとその妹

In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.

Prompt: ガブリエル・デストレとその妹では、どのように歴史の現代解釈が説明されていますか？英語で出力して下さい。

Bonnie Zimmerman
Gabrielle d'Estrées
LGBT


subsection

ガブリエル・デストレとその妹

In the twentieth and twenty-first centuries, the Gabrielle d'Estrées painting is often understood to represent female homosexuality, despite the fact that the women depicted are in fact sisters. It is listed in Lesbian Histories and Cultures: An Encyclopedia by Bonnie Zimmerman, and also appears on websites about lesbian history such as Sappho.com. Even outside of the LGBT community, the painting is frequently understood as a representation of lesbianism. In 1991, it appeared on the cover of the French magazine L’Événement du jeudi to illustrate a story on lesbian chic. In 2002, the German Green Party created a poster to announce their support of same-sex marriage, featuring two female models reenacting the Gabrielle portrait.

Prompt: ガブリエル・デストレとその妹の歴史における現代解釈の特徴を説明してください。英語で出力して下さい。

Bonnie Zimmerman
Gabrielle d'Estrées
LGBT


section

アデーレ・ブロッホ＝バウアーの肖像 I

Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 I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。

Adele Bloch-Bauer
Adele Bloch-Bauer
Anschluss
E. Randol Schoenberg
Gustav Klimt
Hubertus Czernin
Portrait of Adele Bloch-Bauer I
Maria Altmann
Supreme Court of the United States
Vienna
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


section

アデーレ・ブロッホ＝バウアーの肖像 I

Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの抽象を説明してください。英語で出力して下さい。

Adele Bloch-Bauer
Adele Bloch-Bauer
Anschluss
E. Randol Schoenberg
Gustav Klimt
Hubertus Czernin
Portrait of Adele Bloch-Bauer I
Maria Altmann
Supreme Court of the United States
Vienna
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


section

アデーレ・ブロッホ＝バウアーの肖像 I

Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 I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。

Adele Bloch-Bauer
Adele Bloch-Bauer
Anschluss
E. Randol Schoenberg
Gustav Klimt
Hubertus Czernin
Portrait of Adele Bloch-Bauer I
Maria Altmann
Supreme Court of the United States
Vienna
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


section

アデーレ・ブロッホ＝バウアーの肖像 I

Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 I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。

Adele Bloch-Bauer
Adele Bloch-Bauer
Anschluss
E. Randol Schoenberg
Gustav Klimt
Hubertus Czernin
Portrait of Adele Bloch-Bauer I
Maria Altmann
Supreme Court of the United States
Vienna
Portrait of Adele Bloch-Bauer I
Österreichische Galerie Belvedere


section

アデーレ・ブロッホ＝バウアーの肖像 I

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iに焦点を当てて、その受付を説明してください。英語で出力して下さい。


section

アデーレ・ブロッホ＝バウアーの肖像 I

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの受付を説明してください。英語で出力して下さい。


section

アデーレ・ブロッホ＝バウアーの肖像 I

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iはどのように受付を説明していますか？英語で出力して下さい。


section

アデーレ・ブロッホ＝バウアーの肖像 I

Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as "mosaic-like wall-grotesqueries", "bizarre", "absurdities" and "vulgarities".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as "an idol in a golden shrine", while the critic Eduard Pötzl described the work as "" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others "accused Klimt of endangering the autonomy of art".

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iに関して、どのように受付が議論されていますか？英語で出力して下さい。


section

アデーレ・ブロッホ＝バウアーの肖像 I

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 I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。

Adele Bloch-Bauer
Adele Bloch-Bauer
Amy Sherald
Gregor Collins
Gustav Klimt
Helen Mirren
Portrait of Adele Bloch-Bauer I
Maria Altmann
Melissa Müller
Ryan Reynolds
Stealing Klimt
The Accidental Caregiver
Portrait of Adele Bloch-Bauer I


section

アデーレ・ブロッホ＝バウアーの肖像 I

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの遺産を説明してください。英語で出力して下さい。

Adele Bloch-Bauer
Adele Bloch-Bauer
Amy Sherald
Gregor Collins
Gustav Klimt
Helen Mirren
Portrait of Adele Bloch-Bauer I
Maria Altmann
Melissa Müller
Ryan Reynolds
Stealing Klimt
The Accidental Caregiver
Portrait of Adele Bloch-Bauer I


section

アデーレ・ブロッホ＝バウアーの肖像 I

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 I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。

Adele Bloch-Bauer
Adele Bloch-Bauer
Amy Sherald
Gregor Collins
Gustav Klimt
Helen Mirren
Portrait of Adele Bloch-Bauer I
Maria Altmann
Melissa Müller
Ryan Reynolds
Stealing Klimt
The Accidental Caregiver
Portrait of Adele Bloch-Bauer I


section

アデーレ・ブロッホ＝バウアーの肖像 I

The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7 million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had "tried to do good things with the money". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 I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。

Adele Bloch-Bauer
Adele Bloch-Bauer
Amy Sherald
Gregor Collins
Gustav Klimt
Helen Mirren
Portrait of Adele Bloch-Bauer I
Maria Altmann
Melissa Müller
Ryan Reynolds
Stealing Klimt
The Accidental Caregiver
Portrait of Adele Bloch-Bauer I


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの文脈で、グスタフ・クリムトとヌルを説明してください。英語で出力して下さい。

Art Nouveau
Arts and Crafts movement
Aubrey Beardsley
Austria-Hungary
Fernand Khnopff
Franz von Matsch
Gustav Klimt
Jan Toorop
University of Vienna
Vienna
Vienna Secession


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iのヌルに関するグスタフ・クリムトを説明してください。英語で出力して下さい。

Art Nouveau
Arts and Crafts movement
Aubrey Beardsley
Austria-Hungary
Fernand Khnopff
Franz von Matsch
Gustav Klimt
Jan Toorop
University of Vienna
Vienna
Vienna Secession


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iでは、どのようにヌルのグスタフ・クリムトが説明されていますか？英語で出力して下さい。

Art Nouveau
Arts and Crafts movement
Aubrey Beardsley
Austria-Hungary
Fernand Khnopff
Franz von Matsch
Gustav Klimt
Jan Toorop
University of Vienna
Vienna
Vienna Secession


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made "an extreme and lasting contribution to the history of modern art". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the "hypocritical boundaries of respectability set by Viennese society"; according to the art historian Susanna Partsch, he was "the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were "buying the innovative new art that state museums rejected", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting "underlines the essential erotic ingredient in ... [Klimt's] view of the world". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iのヌルにおけるグスタフ・クリムトの特徴を説明してください。英語で出力して下さい。

Art Nouveau
Arts and Crafts movement
Aubrey Beardsley
Austria-Hungary
Fernand Khnopff
Franz von Matsch
Gustav Klimt
Jan Toorop
University of Vienna
Vienna
Vienna Secession


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの文脈で、フェルディナンド・アンド・アーデル・ブロッホ＝バウアーとヌルを説明してください。英語で出力して下さい。

Austria-Hungary
Judith and the Head of Holofernes
Melissa Müller
Wiener Bankverein


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iのヌルに関するフェルディナンド・アンド・アーデル・ブロッホ＝バウアーを説明してください。英語で出力して下さい。

Austria-Hungary
Judith and the Head of Holofernes
Melissa Müller
Wiener Bankverein


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iでは、どのようにヌルのフェルディナンド・アンド・アーデル・ブロッホ＝バウアーが説明されていますか？英語で出力して下さい。

Austria-Hungary
Judith and the Head of Holofernes
Melissa Müller
Wiener Bankverein


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was "the only society lady painted by Klimt who is known definitely to be his mistress", while the journalist Melissa Müller and the academic Monica Tatzkow write that "no evidence has ever been produced that their relationship was more than a friendship". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an "idealised portrait of Adele". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is "widely known and interpreted as Salome". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as "Klimt's most erotic painting". Whitford also writes that the painting displays "apparent evidence of ... cuckoldry". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iのヌルにおけるフェルディナンド・アンド・アーデル・ブロッホ＝バウアーの特徴を説明してください。英語で出力して下さい。

Austria-Hungary
Judith and the Head of Holofernes
Melissa Müller
Wiener Bankverein


subsection

アデーレ・ブロッホ＝バウアーの肖像 I

1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that "the mosaics made an immense decisive impression on ... [Klimt]. From this comes the resplendence, the stiff decoration of his art". Klimt later said that the "mosaics of unbelievable splendour" were a "revelation" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.

Prompt: アデーレ・ブロッホ＝バウアーの肖像 Iの文脈で、準備 実行とヌルを説明してください。英語で出力して下さい。

Basilica of San Vitale
Clive Bell
Josef Hoffmann
Justinian I
Maximilian Lenz
Wassily Kandinsky