section

アロフ・ド・ヴィニャクールと小姓の肖像

Portrait of Alof de Wignacourt and his Page

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

Prompt: アロフ・ド・ヴィニャクールと小姓の肖像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。

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


section

アロフ・ド・ヴィニャクールと小姓の肖像

Portrait of Alof de Wignacourt and his Page

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

Prompt: アロフ・ド・ヴィニャクールと小姓の肖像に関して、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。

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


section

アロフ・ド・ヴィニャクールと小姓の肖像

Portrait of Alof de Wignacourt and his Page

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

Caravaggio
List of paintings by Caravaggio


section

アロフ・ド・ヴィニャクールと小姓の肖像

Portrait of Alof de Wignacourt and his Page

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

Caravaggio
List of paintings by Caravaggio


section

アロフ・ド・ヴィニャクールと小姓の肖像

Portrait of Alof de Wignacourt and his Page

Prompt: アロフ・ド・ヴィニャクールと小姓の肖像はどのように参照を説明していますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

アロフ・ド・ヴィニャクールと小姓の肖像

Portrait of Alof de Wignacourt and his Page

Prompt: アロフ・ド・ヴィニャクールと小姓の肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


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中断された音楽の稽古

}}Girl Interrupted at Her Music  is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Prompt: 中断された音楽の稽古に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Frick Collection
Johannes Vermeer
New York City


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中断された音楽の稽古

}}Girl Interrupted at Her Music  is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Prompt: 中断された音楽の稽古の抽象を説明してください。英語で出力して下さい。

Frick Collection
Johannes Vermeer
New York City


section

中断された音楽の稽古

}}Girl Interrupted at Her Music  is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Prompt: 中断された音楽の稽古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。

Frick Collection
Johannes Vermeer
New York City


section

中断された音楽の稽古

}}Girl Interrupted at Her Music  is a painting by the Dutch artist Johannes Vermeer. It was painted in the baroque style, probably between the years 1658 and 1659, using oil on canvas. Since 1901 it has been in the Frick Collection in New York City.In this painting, Vermeer depicts a woman at her music with a gentleman beside her. This painting shows the typical courtship during the 17th century in Europe. It also focuses on the importance of music when it comes to love. The room that they are shown in is one of higher class, most likely belonging to a person of haute bourgeoisie. The painting is very reminiscent of Vermeer’s other works.

Prompt: 中断された音楽の稽古に関して、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。

Frick Collection
Johannes Vermeer
New York City


section

中断された音楽の稽古

The painting is a theme in the book Girl, Interrupted by Susanna Kaysen, the title of that book being based on the title of the painting.

Prompt: 中断された音楽の稽古に焦点を当てて、その文化的な言及を説明してください。英語で出力して下さい。


section

中断された音楽の稽古

The painting is a theme in the book Girl, Interrupted by Susanna Kaysen, the title of that book being based on the title of the painting.

Prompt: 中断された音楽の稽古の文化的な言及を説明してください。英語で出力して下さい。


section

中断された音楽の稽古

The painting is a theme in the book Girl, Interrupted by Susanna Kaysen, the title of that book being based on the title of the painting.

Prompt: 中断された音楽の稽古はどのように文化的な言及を説明していますか？英語で出力して下さい。


section

中断された音楽の稽古

The painting is a theme in the book Girl, Interrupted by Susanna Kaysen, the title of that book being based on the title of the painting.

Prompt: 中断された音楽の稽古に関して、どのように文化的な言及が議論されていますか？英語で出力して下さい。


section

中断された音楽の稽古

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: 中断された音楽の稽古に焦点を当てて、その参照を説明してください。英語で出力して下さい。

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


section

中断された音楽の稽古

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: 中断された音楽の稽古の参照を説明してください。英語で出力して下さい。

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


section

中断された音楽の稽古

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: 中断された音楽の稽古はどのように参照を説明していますか？英語で出力して下さい。

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


section

中断された音楽の稽古

List of paintings by Johannes Vermeer Dutch Golden Age painting

Prompt: 中断された音楽の稽古に関して、どのように参照が議論されていますか？英語で出力して下さい。

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


section

中断された音楽の稽古

1. Janson, J.. "Girl Interrupted at Her Music." Essential Vermeer. N.p., 2011. Web. 12 Mar 2012. <http://www.essentialvermeer.com/catalogue/girl_interrupted_in_her_music.html>.2. Liedtke, Walter. "Johannes Vermeer ". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/verm/hd_verm.htm 3. <http://www.virtualvermeer.com/ >

Prompt: 中断された音楽の稽古に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

中断された音楽の稽古

1. Janson, J.. "Girl Interrupted at Her Music." Essential Vermeer. N.p., 2011. Web. 12 Mar 2012. <http://www.essentialvermeer.com/catalogue/girl_interrupted_in_her_music.html>.2. Liedtke, Walter. "Johannes Vermeer ". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/verm/hd_verm.htm 3. <http://www.virtualvermeer.com/ >

Prompt: 中断された音楽の稽古の参考文献を説明してください。英語で出力して下さい。


section

中断された音楽の稽古

1. Janson, J.. "Girl Interrupted at Her Music." Essential Vermeer. N.p., 2011. Web. 12 Mar 2012. <http://www.essentialvermeer.com/catalogue/girl_interrupted_in_her_music.html>.2. Liedtke, Walter. "Johannes Vermeer ". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/verm/hd_verm.htm 3. <http://www.virtualvermeer.com/ >

Prompt: 中断された音楽の稽古はどのように参考文献を説明していますか？英語で出力して下さい。


section

中断された音楽の稽古

1. Janson, J.. "Girl Interrupted at Her Music." Essential Vermeer. N.p., 2011. Web. 12 Mar 2012. <http://www.essentialvermeer.com/catalogue/girl_interrupted_in_her_music.html>.2. Liedtke, Walter. "Johannes Vermeer ". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/verm/hd_verm.htm 3. <http://www.virtualvermeer.com/ >

Prompt: 中断された音楽の稽古に関して、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。


subsection

中断された音楽の稽古

The wine glass, discreetly shown on the table behind the songbook, is tied with both joyfulness and seduction. In the 17th century it was popular to paint scenes that depicted feasts that included drinking, gaming, and playing music. ter on, these large gatherings became smaller and more exclusive with two or three people shown. Drinking wine was also associated with love during this time period. You can see that the glass is full and untouched, which symbolizes the slow moving relationship between the man and the woman.

Prompt: 中断された音楽の稽古の文脈で、ワイングラスとヌルを説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The wine glass, discreetly shown on the table behind the songbook, is tied with both joyfulness and seduction. In the 17th century it was popular to paint scenes that depicted feasts that included drinking, gaming, and playing music. ter on, these large gatherings became smaller and more exclusive with two or three people shown. Drinking wine was also associated with love during this time period. You can see that the glass is full and untouched, which symbolizes the slow moving relationship between the man and the woman.

Prompt: 中断された音楽の稽古のヌルに関するワイングラスを説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The wine glass, discreetly shown on the table behind the songbook, is tied with both joyfulness and seduction. In the 17th century it was popular to paint scenes that depicted feasts that included drinking, gaming, and playing music. ter on, these large gatherings became smaller and more exclusive with two or three people shown. Drinking wine was also associated with love during this time period. You can see that the glass is full and untouched, which symbolizes the slow moving relationship between the man and the woman.

Prompt: 中断された音楽の稽古では、どのようにヌルのワイングラスが説明されていますか？英語で出力して下さい。


subsection

中断された音楽の稽古

The wine glass, discreetly shown on the table behind the songbook, is tied with both joyfulness and seduction. In the 17th century it was popular to paint scenes that depicted feasts that included drinking, gaming, and playing music. ter on, these large gatherings became smaller and more exclusive with two or three people shown. Drinking wine was also associated with love during this time period. You can see that the glass is full and untouched, which symbolizes the slow moving relationship between the man and the woman.

Prompt: 中断された音楽の稽古のヌルにおけるワイングラスの特徴を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works . Some experts questioned whether this painting was by Vermeer. The precision of the lighting from the window was thought to prove that it was in fact an original Vermeer.

Prompt: 中断された音楽の稽古の文脈で、窓とヌルを説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works . Some experts questioned whether this painting was by Vermeer. The precision of the lighting from the window was thought to prove that it was in fact an original Vermeer.

Prompt: 中断された音楽の稽古のヌルに関する窓を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works . Some experts questioned whether this painting was by Vermeer. The precision of the lighting from the window was thought to prove that it was in fact an original Vermeer.

Prompt: 中断された音楽の稽古では、どのようにヌルの窓が説明されていますか？英語で出力して下さい。


subsection

中断された音楽の稽古

On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works . Some experts questioned whether this painting was by Vermeer. The precision of the lighting from the window was thought to prove that it was in fact an original Vermeer.

Prompt: 中断された音楽の稽古のヌルにおける窓の特徴を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The chairs depicted in the painting are thought to have been from Spain. They are some of the few objects in the painting that were not damaged by heavy restoration. You can see the minute details including the lion head carving, the brass studs, and the “lozenge” pattern that were all popular aspects of furniture during the time.

Prompt: 中断された音楽の稽古の文脈で、椅子とヌルを説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The chairs depicted in the painting are thought to have been from Spain. They are some of the few objects in the painting that were not damaged by heavy restoration. You can see the minute details including the lion head carving, the brass studs, and the “lozenge” pattern that were all popular aspects of furniture during the time.

Prompt: 中断された音楽の稽古のヌルに関する椅子を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The chairs depicted in the painting are thought to have been from Spain. They are some of the few objects in the painting that were not damaged by heavy restoration. You can see the minute details including the lion head carving, the brass studs, and the “lozenge” pattern that were all popular aspects of furniture during the time.

Prompt: 中断された音楽の稽古では、どのようにヌルの椅子が説明されていますか？英語で出力して下さい。


subsection

中断された音楽の稽古

The chairs depicted in the painting are thought to have been from Spain. They are some of the few objects in the painting that were not damaged by heavy restoration. You can see the minute details including the lion head carving, the brass studs, and the “lozenge” pattern that were all popular aspects of furniture during the time.

Prompt: 中断された音楽の稽古のヌルにおける椅子の特徴を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The hazy painting in the background of the scene is of Cupid. The painting within a painting was discovered after its restoration in 1907; it had been covered up by a wall and a hanging violin. Several observations have been made about the Cupid painting and what it could have to do with the overall painting, including that Cupid may be warning the couple about the dangers of love, that Cupid's upraised hand was a symbol that you must only have one lover, that Cupid is holding up a blank card which represents love as a game, or shows that "love is in the air". The reason for Vermeer including the miniature Cupid painting may never be revealed due to the painting's damaged condition.

Prompt: 中断された音楽の稽古の文脈で、絵画とヌルを説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The hazy painting in the background of the scene is of Cupid. The painting within a painting was discovered after its restoration in 1907; it had been covered up by a wall and a hanging violin. Several observations have been made about the Cupid painting and what it could have to do with the overall painting, including that Cupid may be warning the couple about the dangers of love, that Cupid's upraised hand was a symbol that you must only have one lover, that Cupid is holding up a blank card which represents love as a game, or shows that "love is in the air". The reason for Vermeer including the miniature Cupid painting may never be revealed due to the painting's damaged condition.

Prompt: 中断された音楽の稽古のヌルに関する絵画を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The hazy painting in the background of the scene is of Cupid. The painting within a painting was discovered after its restoration in 1907; it had been covered up by a wall and a hanging violin. Several observations have been made about the Cupid painting and what it could have to do with the overall painting, including that Cupid may be warning the couple about the dangers of love, that Cupid's upraised hand was a symbol that you must only have one lover, that Cupid is holding up a blank card which represents love as a game, or shows that "love is in the air". The reason for Vermeer including the miniature Cupid painting may never be revealed due to the painting's damaged condition.

Prompt: 中断された音楽の稽古では、どのようにヌルの絵画が説明されていますか？英語で出力して下さい。


subsection

中断された音楽の稽古

The hazy painting in the background of the scene is of Cupid. The painting within a painting was discovered after its restoration in 1907; it had been covered up by a wall and a hanging violin. Several observations have been made about the Cupid painting and what it could have to do with the overall painting, including that Cupid may be warning the couple about the dangers of love, that Cupid's upraised hand was a symbol that you must only have one lover, that Cupid is holding up a blank card which represents love as a game, or shows that "love is in the air". The reason for Vermeer including the miniature Cupid painting may never be revealed due to the painting's damaged condition.

Prompt: 中断された音楽の稽古のヌルにおける絵画の特徴を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

On the table sits a vase made of porcelain and silver, likely used for serving wine. One of the main centers for porcelain in the Netherlands was and still is Delft, although they had "limited success" in recreating Chinese porcelain.

Prompt: 中断された音楽の稽古の文脈で、花瓶とヌルを説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

On the table sits a vase made of porcelain and silver, likely used for serving wine. One of the main centers for porcelain in the Netherlands was and still is Delft, although they had "limited success" in recreating Chinese porcelain.

Prompt: 中断された音楽の稽古のヌルに関する花瓶を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

On the table sits a vase made of porcelain and silver, likely used for serving wine. One of the main centers for porcelain in the Netherlands was and still is Delft, although they had "limited success" in recreating Chinese porcelain.

Prompt: 中断された音楽の稽古では、どのようにヌルの花瓶が説明されていますか？英語で出力して下さい。


subsection

中断された音楽の稽古

On the table sits a vase made of porcelain and silver, likely used for serving wine. One of the main centers for porcelain in the Netherlands was and still is Delft, although they had "limited success" in recreating Chinese porcelain.

Prompt: 中断された音楽の稽古のヌルにおける花瓶の特徴を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The man in the painting is likely upper class, due to his fashionable attire.

Prompt: 中断された音楽の稽古の文脈で、男 (おとこ)とヌルを説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The man in the painting is likely upper class, due to his fashionable attire.

Prompt: 中断された音楽の稽古のヌルに関する男 (おとこ)を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

The man in the painting is likely upper class, due to his fashionable attire.

Prompt: 中断された音楽の稽古では、どのようにヌルの男 (おとこ)が説明されていますか？英語で出力して下さい。


subsection

中断された音楽の稽古

The man in the painting is likely upper class, due to his fashionable attire.

Prompt: 中断された音楽の稽古のヌルにおける男 (おとこ)の特徴を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

Love and music often went hand in hand in the 17th century, especially with the presence of a musical duet between a man and a woman. Playing music with one another was one of the few activities where young people of the opposite sex could socialize. The two in the painting were likely part of the haute bourgeoisie, which meant that they were worldly and educated when it came to music, and each likely had a personal collection of songbooks.

Prompt: 中断された音楽の稽古の文脈で、音楽とヌルを説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

Love and music often went hand in hand in the 17th century, especially with the presence of a musical duet between a man and a woman. Playing music with one another was one of the few activities where young people of the opposite sex could socialize. The two in the painting were likely part of the haute bourgeoisie, which meant that they were worldly and educated when it came to music, and each likely had a personal collection of songbooks.

Prompt: 中断された音楽の稽古のヌルに関する音楽を説明してください。英語で出力して下さい。


subsection

中断された音楽の稽古

Love and music often went hand in hand in the 17th century, especially with the presence of a musical duet between a man and a woman. Playing music with one another was one of the few activities where young people of the opposite sex could socialize. The two in the painting were likely part of the haute bourgeoisie, which meant that they were worldly and educated when it came to music, and each likely had a personal collection of songbooks.

Prompt: 中断された音楽の稽古では、どのようにヌルの音楽が説明されていますか？英語で出力して下さい。


subsection

中断された音楽の稽古

Love and music often went hand in hand in the 17th century, especially with the presence of a musical duet between a man and a woman. Playing music with one another was one of the few activities where young people of the opposite sex could socialize. The two in the painting were likely part of the haute bourgeoisie, which meant that they were worldly and educated when it came to music, and each likely had a personal collection of songbooks.

Prompt: 中断された音楽の稽古のヌルにおける音楽の特徴を説明してください。英語で出力して下さい。


section

黄色いキリスト

The Yellow Christ  is a painting executed by Paul Gauguin in 1889 in Pont-Aven. Together with The Green Christ, it is considered to be one of the key works of Symbolism in symbolic mythological paintings of the older era as represented by Symbolism.Gauguin first visited Pont-Aven in 1886. He returned to the village in early 1888 to stay until mid-October, when he left to join Vincent van Gogh in Arles, for little more than two months. Early in 1889, Gauguin was back to Pont-Aven to stay there until spring 1890. It was only for a short visit in summer 1889 to Paris to see the Exposition universelle and to arrange the Volpini Exhibition that Gauguin interrupted this sojourn. Soon after his return to Pont-Aven he painted The Yellow Christ.The painting is a symbolic piece that shows the crucifixion of Jesus Christ taking place in 19th-century northern France as Breton women are gathered in prayer. Gauguin relies heavily on bold lines to define his figures and reserves shading only for the women. The autumn palette of yellow, red and green in the landscape echoes the dominant yellow in the figure of Christ. The bold outlines and flatness of the forms in this painting are typical of the cloisonnist style.A study for The Yellow Christ in pencil is preserved in the Thyssen-Bornemisza Museum, and a version in watercolor is in the collection of the Art Institute of Chicago, gift of Elizabeth F. Chapman.

Prompt: 黄色いキリストに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Arles
Art Institute of Chicago
Jesus
Paul Gauguin
Pont-Aven
The Green Christ
Thyssen-Bornemisza Museum
Vincent van Gogh


section

黄色いキリスト

The Yellow Christ  is a painting executed by Paul Gauguin in 1889 in Pont-Aven. Together with The Green Christ, it is considered to be one of the key works of Symbolism in symbolic mythological paintings of the older era as represented by Symbolism.Gauguin first visited Pont-Aven in 1886. He returned to the village in early 1888 to stay until mid-October, when he left to join Vincent van Gogh in Arles, for little more than two months. Early in 1889, Gauguin was back to Pont-Aven to stay there until spring 1890. It was only for a short visit in summer 1889 to Paris to see the Exposition universelle and to arrange the Volpini Exhibition that Gauguin interrupted this sojourn. Soon after his return to Pont-Aven he painted The Yellow Christ.The painting is a symbolic piece that shows the crucifixion of Jesus Christ taking place in 19th-century northern France as Breton women are gathered in prayer. Gauguin relies heavily on bold lines to define his figures and reserves shading only for the women. The autumn palette of yellow, red and green in the landscape echoes the dominant yellow in the figure of Christ. The bold outlines and flatness of the forms in this painting are typical of the cloisonnist style.A study for The Yellow Christ in pencil is preserved in the Thyssen-Bornemisza Museum, and a version in watercolor is in the collection of the Art Institute of Chicago, gift of Elizabeth F. Chapman.

Prompt: 黄色いキリストの抽象を説明してください。英語で出力して下さい。

Arles
Art Institute of Chicago
Jesus
Paul Gauguin
Pont-Aven
The Green Christ
Thyssen-Bornemisza Museum
Vincent van Gogh


section

黄色いキリスト

The Yellow Christ  is a painting executed by Paul Gauguin in 1889 in Pont-Aven. Together with The Green Christ, it is considered to be one of the key works of Symbolism in symbolic mythological paintings of the older era as represented by Symbolism.Gauguin first visited Pont-Aven in 1886. He returned to the village in early 1888 to stay until mid-October, when he left to join Vincent van Gogh in Arles, for little more than two months. Early in 1889, Gauguin was back to Pont-Aven to stay there until spring 1890. It was only for a short visit in summer 1889 to Paris to see the Exposition universelle and to arrange the Volpini Exhibition that Gauguin interrupted this sojourn. Soon after his return to Pont-Aven he painted The Yellow Christ.The painting is a symbolic piece that shows the crucifixion of Jesus Christ taking place in 19th-century northern France as Breton women are gathered in prayer. Gauguin relies heavily on bold lines to define his figures and reserves shading only for the women. The autumn palette of yellow, red and green in the landscape echoes the dominant yellow in the figure of Christ. The bold outlines and flatness of the forms in this painting are typical of the cloisonnist style.A study for The Yellow Christ in pencil is preserved in the Thyssen-Bornemisza Museum, and a version in watercolor is in the collection of the Art Institute of Chicago, gift of Elizabeth F. Chapman.

Prompt: 黄色いキリストはどのように抽象を説明していますか？英語で出力して下さい。

Arles
Art Institute of Chicago
Jesus
Paul Gauguin
Pont-Aven
The Green Christ
Thyssen-Bornemisza Museum
Vincent van Gogh


section

黄色いキリスト

The Yellow Christ  is a painting executed by Paul Gauguin in 1889 in Pont-Aven. Together with The Green Christ, it is considered to be one of the key works of Symbolism in symbolic mythological paintings of the older era as represented by Symbolism.Gauguin first visited Pont-Aven in 1886. He returned to the village in early 1888 to stay until mid-October, when he left to join Vincent van Gogh in Arles, for little more than two months. Early in 1889, Gauguin was back to Pont-Aven to stay there until spring 1890. It was only for a short visit in summer 1889 to Paris to see the Exposition universelle and to arrange the Volpini Exhibition that Gauguin interrupted this sojourn. Soon after his return to Pont-Aven he painted The Yellow Christ.The painting is a symbolic piece that shows the crucifixion of Jesus Christ taking place in 19th-century northern France as Breton women are gathered in prayer. Gauguin relies heavily on bold lines to define his figures and reserves shading only for the women. The autumn palette of yellow, red and green in the landscape echoes the dominant yellow in the figure of Christ. The bold outlines and flatness of the forms in this painting are typical of the cloisonnist style.A study for The Yellow Christ in pencil is preserved in the Thyssen-Bornemisza Museum, and a version in watercolor is in the collection of the Art Institute of Chicago, gift of Elizabeth F. Chapman.

Prompt: 黄色いキリストに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Arles
Art Institute of Chicago
Jesus
Paul Gauguin
Pont-Aven
The Green Christ
Thyssen-Bornemisza Museum
Vincent van Gogh


section

黄色いキリスト

Gauguin et le Christ jaune, Musée de Pont-Aven,  2000

Prompt: 黄色いキリストに焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

黄色いキリスト

Gauguin et le Christ jaune, Musée de Pont-Aven,  2000

Prompt: 黄色いキリストの参考文献を説明してください。英語で出力して下さい。


section

黄色いキリスト

Gauguin et le Christ jaune, Musée de Pont-Aven,  2000

Prompt: 黄色いキリストはどのように参考文献を説明していますか？英語で出力して下さい。


section

黄色いキリスト

Gauguin et le Christ jaune, Musée de Pont-Aven,  2000

Prompt: 黄色いキリストに関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

クラウド・ゲート

website = }}Cloud Gate is a public sculpture by Indian-born British artist Anish Kapoor, that is the centerpiece of Grainger Plaza at Millennium Park in the Loop community area of Chicago, Illinois. The sculpture and Grainger Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed between 2004 and 2006, the sculpture is nicknamed "The Bean" because of its shape, a name Kapoor later grew fond of. Kapoor himself even uses this title when referring to his work. Made up of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. It measures , and weighs .Kapoor's design was inspired by liquid mercury and the sculpture's surface reflects and distorts the city's skyline. Visitors are able to walk around and under Cloud Gates  high arch. On the underside is the "omphalos" , a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes, and it is popular with tourists as a photo-taking opportunity for its unique reflective properties.The sculpture was the result of a design competition. After Kapoor's design was chosen, numerous technological concerns regarding the design's construction and assembly arose, in addition to concerns regarding the sculpture's upkeep and maintenance. Various experts were consulted, some of whom believed the design could not be implemented. Eventually, a feasible method was found, but the sculpture's construction fell behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration in 2004, before being concealed again while it was completed. Cloud Gate was formally dedicated on May 15, 2006, and has since gained considerable popularity, both domestically and internationally.

Prompt: クラウド・ゲートに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Anish Kapoor
Chase Promenade
Chicago
Cloud Gate
Grainger Plaza
Illinois
India
McCormick Tribune Plaza & Ice Rink
Millennium Park
Park Grill
Cloud Gate


section

クラウド・ゲート

website = }}Cloud Gate is a public sculpture by Indian-born British artist Anish Kapoor, that is the centerpiece of Grainger Plaza at Millennium Park in the Loop community area of Chicago, Illinois. The sculpture and Grainger Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed between 2004 and 2006, the sculpture is nicknamed "The Bean" because of its shape, a name Kapoor later grew fond of. Kapoor himself even uses this title when referring to his work. Made up of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. It measures , and weighs .Kapoor's design was inspired by liquid mercury and the sculpture's surface reflects and distorts the city's skyline. Visitors are able to walk around and under Cloud Gates  high arch. On the underside is the "omphalos" , a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes, and it is popular with tourists as a photo-taking opportunity for its unique reflective properties.The sculpture was the result of a design competition. After Kapoor's design was chosen, numerous technological concerns regarding the design's construction and assembly arose, in addition to concerns regarding the sculpture's upkeep and maintenance. Various experts were consulted, some of whom believed the design could not be implemented. Eventually, a feasible method was found, but the sculpture's construction fell behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration in 2004, before being concealed again while it was completed. Cloud Gate was formally dedicated on May 15, 2006, and has since gained considerable popularity, both domestically and internationally.

Prompt: クラウド・ゲートの抽象を説明してください。英語で出力して下さい。

Anish Kapoor
Chase Promenade
Chicago
Cloud Gate
Grainger Plaza
Illinois
India
McCormick Tribune Plaza & Ice Rink
Millennium Park
Park Grill
Cloud Gate


section

クラウド・ゲート

website = }}Cloud Gate is a public sculpture by Indian-born British artist Anish Kapoor, that is the centerpiece of Grainger Plaza at Millennium Park in the Loop community area of Chicago, Illinois. The sculpture and Grainger Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed between 2004 and 2006, the sculpture is nicknamed "The Bean" because of its shape, a name Kapoor later grew fond of. Kapoor himself even uses this title when referring to his work. Made up of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. It measures , and weighs .Kapoor's design was inspired by liquid mercury and the sculpture's surface reflects and distorts the city's skyline. Visitors are able to walk around and under Cloud Gates  high arch. On the underside is the "omphalos" , a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes, and it is popular with tourists as a photo-taking opportunity for its unique reflective properties.The sculpture was the result of a design competition. After Kapoor's design was chosen, numerous technological concerns regarding the design's construction and assembly arose, in addition to concerns regarding the sculpture's upkeep and maintenance. Various experts were consulted, some of whom believed the design could not be implemented. Eventually, a feasible method was found, but the sculpture's construction fell behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration in 2004, before being concealed again while it was completed. Cloud Gate was formally dedicated on May 15, 2006, and has since gained considerable popularity, both domestically and internationally.

Prompt: クラウド・ゲートはどのように抽象を説明していますか？英語で出力して下さい。

Anish Kapoor
Chase Promenade
Chicago
Cloud Gate
Grainger Plaza
Illinois
India
McCormick Tribune Plaza & Ice Rink
Millennium Park
Park Grill
Cloud Gate


section

クラウド・ゲート

website = }}Cloud Gate is a public sculpture by Indian-born British artist Anish Kapoor, that is the centerpiece of Grainger Plaza at Millennium Park in the Loop community area of Chicago, Illinois. The sculpture and Grainger Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed between 2004 and 2006, the sculpture is nicknamed "The Bean" because of its shape, a name Kapoor later grew fond of. Kapoor himself even uses this title when referring to his work. Made up of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. It measures , and weighs .Kapoor's design was inspired by liquid mercury and the sculpture's surface reflects and distorts the city's skyline. Visitors are able to walk around and under Cloud Gates  high arch. On the underside is the "omphalos" , a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes, and it is popular with tourists as a photo-taking opportunity for its unique reflective properties.The sculpture was the result of a design competition. After Kapoor's design was chosen, numerous technological concerns regarding the design's construction and assembly arose, in addition to concerns regarding the sculpture's upkeep and maintenance. Various experts were consulted, some of whom believed the design could not be implemented. Eventually, a feasible method was found, but the sculpture's construction fell behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration in 2004, before being concealed again while it was completed. Cloud Gate was formally dedicated on May 15, 2006, and has since gained considerable popularity, both domestically and internationally.

Prompt: クラウド・ゲートに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Anish Kapoor
Chase Promenade
Chicago
Cloud Gate
Grainger Plaza
Illinois
India
McCormick Tribune Plaza & Ice Rink
Millennium Park
Park Grill
Cloud Gate


section

クラウド・ゲート

Lying between ke Michigan to the east and the Loop to the west, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, north of Monroe Street and the Art Institute, east of Michigan Avenue, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city as Millennium Park. For 2007, the park was Chicago's second largest tourist attraction, trailing only Navy Pier.In 1999, Millennium Park officials and a group of art collectors, curators and architects reviewed the artistic works of 30 different artists and asked two for proposals. American artist Jeff Koons submitted a proposal to erect a permanent  sculpture of a playground slide; The committee chose the second design by internationally acclaimed artist Anish Kapoor. Measuring  and weighing , the proposal featured a seamless, stainless steel surface inspired by liquid mercury. This mirror-like surface would reflect the Chicago skyline, but its elliptical shape would distort and twist the reflected image.In the underside of the sculpture is the omphalos, an indentation whose mirrored surface provides multiple reflections of any subject situated beneath it. The apex of the omphalos is  above the ground. The concave underside allows visitors to walk underneath to see the omphalos, and through its arch to the other side so that they view the entire structure. During the grand opening week in July 2004, press reports described the omphalos as the "spoon-like underbelly". The stainless steel sculpture was originally envisioned as the centerpiece of the Lurie Garden at the southeast corner of the park. However, Park officials believed the piece was too large for the Lurie Garden and decided to locate it at what is now known as Grainger Plaza, despite Kapoor's objections. Skyscrapers to the north along East Randolph Street, including The Heritage, the Smurfit-Stone Building, Two Prudential Plaza, One Prudential Plaza, and Aon Center are visible, reflected on both the east and west sides of the sculpture.around the structure, its surface acts like a fun-house mirror as it distorts their reflections. which created numerous issues. Since the sculpture was expected to be outdoors, concerns arose that it might retain and conduct heat in a way that would make it too hot to touch during the summer and so cold that one's tongue might stick to it during the winter. The extreme temperature variation between seasons was also feared to weaken the structure. Graffiti, bird droppings and fingerprints were also potential problems, as they would affect the aesthetics of the surface.While the sculpture was being constructed, public and media outlets nicknamed it "The Bean" because of its shape, a name that Kapoor described as "completely stupid".  Critical reviews describe the sculpture as a passage between realms. Three-quarters of the sculpture's external surface reflects the sky and the name refers to it acting as a type of gate that helps bridge the space between the sky and the viewer. In 2008, the sculpture and plaza were sometimes referred to jointly as "Cloud Gate on the AT&T Plaza" . It is Kapoor's first public outdoor work in the United States, and is the work by which he is best known in the country according to the Financial Times.

Prompt: クラウド・ゲートに焦点を当てて、そのデザインを説明してください。英語で出力して下さい。

Anish Kapoor
Chicago
Cloud Gate
Financial Times
Graffiti
Grainger Plaza
Illinois
Jeff Koons
Lurie Garden
Millennium Park
Monroe Street
Navy Pier
One Prudential Plaza
Randolph Street
Skyscraper
Cloud Gate
Two Prudential Plaza


section

クラウド・ゲート

Lying between ke Michigan to the east and the Loop to the west, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, north of Monroe Street and the Art Institute, east of Michigan Avenue, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city as Millennium Park. For 2007, the park was Chicago's second largest tourist attraction, trailing only Navy Pier.In 1999, Millennium Park officials and a group of art collectors, curators and architects reviewed the artistic works of 30 different artists and asked two for proposals. American artist Jeff Koons submitted a proposal to erect a permanent  sculpture of a playground slide; The committee chose the second design by internationally acclaimed artist Anish Kapoor. Measuring  and weighing , the proposal featured a seamless, stainless steel surface inspired by liquid mercury. This mirror-like surface would reflect the Chicago skyline, but its elliptical shape would distort and twist the reflected image.In the underside of the sculpture is the omphalos, an indentation whose mirrored surface provides multiple reflections of any subject situated beneath it. The apex of the omphalos is  above the ground. The concave underside allows visitors to walk underneath to see the omphalos, and through its arch to the other side so that they view the entire structure. During the grand opening week in July 2004, press reports described the omphalos as the "spoon-like underbelly". The stainless steel sculpture was originally envisioned as the centerpiece of the Lurie Garden at the southeast corner of the park. However, Park officials believed the piece was too large for the Lurie Garden and decided to locate it at what is now known as Grainger Plaza, despite Kapoor's objections. Skyscrapers to the north along East Randolph Street, including The Heritage, the Smurfit-Stone Building, Two Prudential Plaza, One Prudential Plaza, and Aon Center are visible, reflected on both the east and west sides of the sculpture.around the structure, its surface acts like a fun-house mirror as it distorts their reflections. which created numerous issues. Since the sculpture was expected to be outdoors, concerns arose that it might retain and conduct heat in a way that would make it too hot to touch during the summer and so cold that one's tongue might stick to it during the winter. The extreme temperature variation between seasons was also feared to weaken the structure. Graffiti, bird droppings and fingerprints were also potential problems, as they would affect the aesthetics of the surface.While the sculpture was being constructed, public and media outlets nicknamed it "The Bean" because of its shape, a name that Kapoor described as "completely stupid".  Critical reviews describe the sculpture as a passage between realms. Three-quarters of the sculpture's external surface reflects the sky and the name refers to it acting as a type of gate that helps bridge the space between the sky and the viewer. In 2008, the sculpture and plaza were sometimes referred to jointly as "Cloud Gate on the AT&T Plaza" . It is Kapoor's first public outdoor work in the United States, and is the work by which he is best known in the country according to the Financial Times.

Prompt: クラウド・ゲートのデザインを説明してください。英語で出力して下さい。

Anish Kapoor
Chicago
Cloud Gate
Financial Times
Graffiti
Grainger Plaza
Illinois
Jeff Koons
Lurie Garden
Millennium Park
Monroe Street
Navy Pier
One Prudential Plaza
Randolph Street
Skyscraper
Cloud Gate
Two Prudential Plaza


section

クラウド・ゲート

Lying between ke Michigan to the east and the Loop to the west, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, north of Monroe Street and the Art Institute, east of Michigan Avenue, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city as Millennium Park. For 2007, the park was Chicago's second largest tourist attraction, trailing only Navy Pier.In 1999, Millennium Park officials and a group of art collectors, curators and architects reviewed the artistic works of 30 different artists and asked two for proposals. American artist Jeff Koons submitted a proposal to erect a permanent  sculpture of a playground slide; The committee chose the second design by internationally acclaimed artist Anish Kapoor. Measuring  and weighing , the proposal featured a seamless, stainless steel surface inspired by liquid mercury. This mirror-like surface would reflect the Chicago skyline, but its elliptical shape would distort and twist the reflected image.In the underside of the sculpture is the omphalos, an indentation whose mirrored surface provides multiple reflections of any subject situated beneath it. The apex of the omphalos is  above the ground. The concave underside allows visitors to walk underneath to see the omphalos, and through its arch to the other side so that they view the entire structure. During the grand opening week in July 2004, press reports described the omphalos as the "spoon-like underbelly". The stainless steel sculpture was originally envisioned as the centerpiece of the Lurie Garden at the southeast corner of the park. However, Park officials believed the piece was too large for the Lurie Garden and decided to locate it at what is now known as Grainger Plaza, despite Kapoor's objections. Skyscrapers to the north along East Randolph Street, including The Heritage, the Smurfit-Stone Building, Two Prudential Plaza, One Prudential Plaza, and Aon Center are visible, reflected on both the east and west sides of the sculpture.around the structure, its surface acts like a fun-house mirror as it distorts their reflections. which created numerous issues. Since the sculpture was expected to be outdoors, concerns arose that it might retain and conduct heat in a way that would make it too hot to touch during the summer and so cold that one's tongue might stick to it during the winter. The extreme temperature variation between seasons was also feared to weaken the structure. Graffiti, bird droppings and fingerprints were also potential problems, as they would affect the aesthetics of the surface.While the sculpture was being constructed, public and media outlets nicknamed it "The Bean" because of its shape, a name that Kapoor described as "completely stupid".  Critical reviews describe the sculpture as a passage between realms. Three-quarters of the sculpture's external surface reflects the sky and the name refers to it acting as a type of gate that helps bridge the space between the sky and the viewer. In 2008, the sculpture and plaza were sometimes referred to jointly as "Cloud Gate on the AT&T Plaza" . It is Kapoor's first public outdoor work in the United States, and is the work by which he is best known in the country according to the Financial Times.

Prompt: クラウド・ゲートはどのようにデザインを説明していますか？英語で出力して下さい。

Anish Kapoor
Chicago
Cloud Gate
Financial Times
Graffiti
Grainger Plaza
Illinois
Jeff Koons
Lurie Garden
Millennium Park
Monroe Street
Navy Pier
One Prudential Plaza
Randolph Street
Skyscraper
Cloud Gate
Two Prudential Plaza


section

クラウド・ゲート

Lying between ke Michigan to the east and the Loop to the west, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, north of Monroe Street and the Art Institute, east of Michigan Avenue, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city as Millennium Park. For 2007, the park was Chicago's second largest tourist attraction, trailing only Navy Pier.In 1999, Millennium Park officials and a group of art collectors, curators and architects reviewed the artistic works of 30 different artists and asked two for proposals. American artist Jeff Koons submitted a proposal to erect a permanent  sculpture of a playground slide; The committee chose the second design by internationally acclaimed artist Anish Kapoor. Measuring  and weighing , the proposal featured a seamless, stainless steel surface inspired by liquid mercury. This mirror-like surface would reflect the Chicago skyline, but its elliptical shape would distort and twist the reflected image.In the underside of the sculpture is the omphalos, an indentation whose mirrored surface provides multiple reflections of any subject situated beneath it. The apex of the omphalos is  above the ground. The concave underside allows visitors to walk underneath to see the omphalos, and through its arch to the other side so that they view the entire structure. During the grand opening week in July 2004, press reports described the omphalos as the "spoon-like underbelly". The stainless steel sculpture was originally envisioned as the centerpiece of the Lurie Garden at the southeast corner of the park. However, Park officials believed the piece was too large for the Lurie Garden and decided to locate it at what is now known as Grainger Plaza, despite Kapoor's objections. Skyscrapers to the north along East Randolph Street, including The Heritage, the Smurfit-Stone Building, Two Prudential Plaza, One Prudential Plaza, and Aon Center are visible, reflected on both the east and west sides of the sculpture.around the structure, its surface acts like a fun-house mirror as it distorts their reflections. which created numerous issues. Since the sculpture was expected to be outdoors, concerns arose that it might retain and conduct heat in a way that would make it too hot to touch during the summer and so cold that one's tongue might stick to it during the winter. The extreme temperature variation between seasons was also feared to weaken the structure. Graffiti, bird droppings and fingerprints were also potential problems, as they would affect the aesthetics of the surface.While the sculpture was being constructed, public and media outlets nicknamed it "The Bean" because of its shape, a name that Kapoor described as "completely stupid".  Critical reviews describe the sculpture as a passage between realms. Three-quarters of the sculpture's external surface reflects the sky and the name refers to it acting as a type of gate that helps bridge the space between the sky and the viewer. In 2008, the sculpture and plaza were sometimes referred to jointly as "Cloud Gate on the AT&T Plaza" . It is Kapoor's first public outdoor work in the United States, and is the work by which he is best known in the country according to the Financial Times.

Prompt: クラウド・ゲートに関して、どのようにデザインが議論されていますか？英語で出力して下さい。

Anish Kapoor
Chicago
Cloud Gate
Financial Times
Graffiti
Grainger Plaza
Illinois
Jeff Koons
Lurie Garden
Millennium Park
Monroe Street
Navy Pier
One Prudential Plaza
Randolph Street
Skyscraper
Cloud Gate
Two Prudential Plaza


section

クラウド・ゲート

The British engineering firm Atelier One provided the sculpture's structural design, and Performance Structures, Inc.  was chosen to fabricate it because of their ability to produce nearly invisible welds. Initially, PSI planned to build and assemble the sculpture in Oakland, California, and ship it to Chicago through the Panama Canal and St. wrence Seaway. However, this plan was discarded after park officials deemed it too risky, so the decision was made to transport the individual panels by truck and to assemble the structure on-site, a task undertaken by MTH Industries.The sculpture's weight raised concerns. Estimating the thickness of the steel needed to create the sculpture's desired aesthetics before fabrication was difficult. Cloud Gate was originally estimated to weigh  when completed. However, the final figure was almost twice as heavy at . This extra weight required engineers to reconsider the sculpture's supporting structures. The roof of the Park Grill, upon which Cloud Gate sits, had to be built strong enough to bear the weight. The large retaining wall separating Chicago's Metra train tracks from the North Grant Park garage supports much of the weight of the sculpture and forms the back side of the restaurant. This wall, along with the rest of the garage's foundation, required additional bracing before the piece was erected.  The first structural pieces, two type 304 stainless steel rings, were put into place in February 2004. As construction continued, crisscrossing pipe trusses were assembled between the two rings. The trusses and supporting structures were only present for the construction phases. The finished sculpture has no inner bracing. The supporting structural components were designed and constructed to ensure that no specific point was overloaded, and to avoid producing unwanted indentations on the exterior shell. The frame was also designed to expand and contract with the sculpture as temperatures fluctuate. As a result, the two large rings supporting the sculpture move independently of each other, allowing the shell to move independently of the rings. Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. About a third of the plates, along with the entire interior structure, were fabricated in Oakland. Welders used keyhole welding machines rather than traditional welding guns. Construction began with the omphalos, where plates were attached to the supporting internal steel structure, from the inside  of the sculpture downward to the outermost surfaces. This sequence caused the structure to resemble a large sombrero when the bottom was complete.The shell of Cloud Gate was fully erected for the grand opening of Millennium Park on July 15, 2004, although it was unpolished and thus unfinished, because its assembly had fallen behind schedule. The piece was temporarily uncovered on July 8 for the opening, although Kapoor was unhappy with this as it allowed the public to see the sculpture in an unfinished state. The original plan was to re-erect the tent around the sculpture for polishing on July 24, but public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was again erected in January 2005 as a 24-person crew from Ironworkers Local 63 polished the seams between each plate. In order to grind, sand and polish the seams, six levels of scaffolding were erected around the sides of the sculpture, while climbing ropes and harnesses were used to polish harder-to-reach areas. Every weld on the Cloud Gate underwent a five-stage process, required to produce the sculpture's mirror-like finish. The cost for the piece was first estimated at $6 million; this had escalated to $11.5 million by the time the park opened in 2004, with the final figure standing at $23 million in 2006. No public funds were involved; all funding came from donations from individuals and corporations. The lower  of Cloud Gate is wiped down twice a day by hand, while the entire sculpture is cleaned twice a year with  of liquid detergent. The daily cleanings use a Windex-like solution, while the semi-annual cleanings use Tide. A notable February 2009 incident saw two names etched in letters about  tall on the northeast side of the curved sculpture. The graffiti was removed by the same firm that did the original polishing.In August 2023, the City of Chicago began renovation and construction work on Grainger Plaza, which also closed public access to . The work involved accessibility improvements, including ramps and new steps, replacing pavers, and waterproofing. After being behind fencing for most of a year, the sculpture was reopened to the public on June 23, 2024.

Prompt: クラウド・ゲートに焦点を当てて、その建設と保守を説明してください。英語で出力して下さい。

Atelier One
Chicago
Cloud Gate
Grainger Plaza
Metra
Millennium Park
Oakland, California
Panama Canal
Park Grill
Cloud Gate
Windex


section

クラウド・ゲート

The British engineering firm Atelier One provided the sculpture's structural design, and Performance Structures, Inc.  was chosen to fabricate it because of their ability to produce nearly invisible welds. Initially, PSI planned to build and assemble the sculpture in Oakland, California, and ship it to Chicago through the Panama Canal and St. wrence Seaway. However, this plan was discarded after park officials deemed it too risky, so the decision was made to transport the individual panels by truck and to assemble the structure on-site, a task undertaken by MTH Industries.The sculpture's weight raised concerns. Estimating the thickness of the steel needed to create the sculpture's desired aesthetics before fabrication was difficult. Cloud Gate was originally estimated to weigh  when completed. However, the final figure was almost twice as heavy at . This extra weight required engineers to reconsider the sculpture's supporting structures. The roof of the Park Grill, upon which Cloud Gate sits, had to be built strong enough to bear the weight. The large retaining wall separating Chicago's Metra train tracks from the North Grant Park garage supports much of the weight of the sculpture and forms the back side of the restaurant. This wall, along with the rest of the garage's foundation, required additional bracing before the piece was erected.  The first structural pieces, two type 304 stainless steel rings, were put into place in February 2004. As construction continued, crisscrossing pipe trusses were assembled between the two rings. The trusses and supporting structures were only present for the construction phases. The finished sculpture has no inner bracing. The supporting structural components were designed and constructed to ensure that no specific point was overloaded, and to avoid producing unwanted indentations on the exterior shell. The frame was also designed to expand and contract with the sculpture as temperatures fluctuate. As a result, the two large rings supporting the sculpture move independently of each other, allowing the shell to move independently of the rings. Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. About a third of the plates, along with the entire interior structure, were fabricated in Oakland. Welders used keyhole welding machines rather than traditional welding guns. Construction began with the omphalos, where plates were attached to the supporting internal steel structure, from the inside  of the sculpture downward to the outermost surfaces. This sequence caused the structure to resemble a large sombrero when the bottom was complete.The shell of Cloud Gate was fully erected for the grand opening of Millennium Park on July 15, 2004, although it was unpolished and thus unfinished, because its assembly had fallen behind schedule. The piece was temporarily uncovered on July 8 for the opening, although Kapoor was unhappy with this as it allowed the public to see the sculpture in an unfinished state. The original plan was to re-erect the tent around the sculpture for polishing on July 24, but public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was again erected in January 2005 as a 24-person crew from Ironworkers Local 63 polished the seams between each plate. In order to grind, sand and polish the seams, six levels of scaffolding were erected around the sides of the sculpture, while climbing ropes and harnesses were used to polish harder-to-reach areas. Every weld on the Cloud Gate underwent a five-stage process, required to produce the sculpture's mirror-like finish. The cost for the piece was first estimated at $6 million; this had escalated to $11.5 million by the time the park opened in 2004, with the final figure standing at $23 million in 2006. No public funds were involved; all funding came from donations from individuals and corporations. The lower  of Cloud Gate is wiped down twice a day by hand, while the entire sculpture is cleaned twice a year with  of liquid detergent. The daily cleanings use a Windex-like solution, while the semi-annual cleanings use Tide. A notable February 2009 incident saw two names etched in letters about  tall on the northeast side of the curved sculpture. The graffiti was removed by the same firm that did the original polishing.In August 2023, the City of Chicago began renovation and construction work on Grainger Plaza, which also closed public access to . The work involved accessibility improvements, including ramps and new steps, replacing pavers, and waterproofing. After being behind fencing for most of a year, the sculpture was reopened to the public on June 23, 2024.

Prompt: クラウド・ゲートの建設と保守を説明してください。英語で出力して下さい。

Atelier One
Chicago
Cloud Gate
Grainger Plaza
Metra
Millennium Park
Oakland, California
Panama Canal
Park Grill
Cloud Gate
Windex


section

クラウド・ゲート

The British engineering firm Atelier One provided the sculpture's structural design, and Performance Structures, Inc.  was chosen to fabricate it because of their ability to produce nearly invisible welds. Initially, PSI planned to build and assemble the sculpture in Oakland, California, and ship it to Chicago through the Panama Canal and St. wrence Seaway. However, this plan was discarded after park officials deemed it too risky, so the decision was made to transport the individual panels by truck and to assemble the structure on-site, a task undertaken by MTH Industries.The sculpture's weight raised concerns. Estimating the thickness of the steel needed to create the sculpture's desired aesthetics before fabrication was difficult. Cloud Gate was originally estimated to weigh  when completed. However, the final figure was almost twice as heavy at . This extra weight required engineers to reconsider the sculpture's supporting structures. The roof of the Park Grill, upon which Cloud Gate sits, had to be built strong enough to bear the weight. The large retaining wall separating Chicago's Metra train tracks from the North Grant Park garage supports much of the weight of the sculpture and forms the back side of the restaurant. This wall, along with the rest of the garage's foundation, required additional bracing before the piece was erected.  The first structural pieces, two type 304 stainless steel rings, were put into place in February 2004. As construction continued, crisscrossing pipe trusses were assembled between the two rings. The trusses and supporting structures were only present for the construction phases. The finished sculpture has no inner bracing. The supporting structural components were designed and constructed to ensure that no specific point was overloaded, and to avoid producing unwanted indentations on the exterior shell. The frame was also designed to expand and contract with the sculpture as temperatures fluctuate. As a result, the two large rings supporting the sculpture move independently of each other, allowing the shell to move independently of the rings. Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. About a third of the plates, along with the entire interior structure, were fabricated in Oakland. Welders used keyhole welding machines rather than traditional welding guns. Construction began with the omphalos, where plates were attached to the supporting internal steel structure, from the inside  of the sculpture downward to the outermost surfaces. This sequence caused the structure to resemble a large sombrero when the bottom was complete.The shell of Cloud Gate was fully erected for the grand opening of Millennium Park on July 15, 2004, although it was unpolished and thus unfinished, because its assembly had fallen behind schedule. The piece was temporarily uncovered on July 8 for the opening, although Kapoor was unhappy with this as it allowed the public to see the sculpture in an unfinished state. The original plan was to re-erect the tent around the sculpture for polishing on July 24, but public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was again erected in January 2005 as a 24-person crew from Ironworkers Local 63 polished the seams between each plate. In order to grind, sand and polish the seams, six levels of scaffolding were erected around the sides of the sculpture, while climbing ropes and harnesses were used to polish harder-to-reach areas. Every weld on the Cloud Gate underwent a five-stage process, required to produce the sculpture's mirror-like finish. The cost for the piece was first estimated at $6 million; this had escalated to $11.5 million by the time the park opened in 2004, with the final figure standing at $23 million in 2006. No public funds were involved; all funding came from donations from individuals and corporations. The lower  of Cloud Gate is wiped down twice a day by hand, while the entire sculpture is cleaned twice a year with  of liquid detergent. The daily cleanings use a Windex-like solution, while the semi-annual cleanings use Tide. A notable February 2009 incident saw two names etched in letters about  tall on the northeast side of the curved sculpture. The graffiti was removed by the same firm that did the original polishing.In August 2023, the City of Chicago began renovation and construction work on Grainger Plaza, which also closed public access to . The work involved accessibility improvements, including ramps and new steps, replacing pavers, and waterproofing. After being behind fencing for most of a year, the sculpture was reopened to the public on June 23, 2024.

Prompt: クラウド・ゲートはどのように建設と保守を説明していますか？英語で出力して下さい。

Atelier One
Chicago
Cloud Gate
Grainger Plaza
Metra
Millennium Park
Oakland, California
Panama Canal
Park Grill
Cloud Gate
Windex


section

クラウド・ゲート

The British engineering firm Atelier One provided the sculpture's structural design, and Performance Structures, Inc.  was chosen to fabricate it because of their ability to produce nearly invisible welds. Initially, PSI planned to build and assemble the sculpture in Oakland, California, and ship it to Chicago through the Panama Canal and St. wrence Seaway. However, this plan was discarded after park officials deemed it too risky, so the decision was made to transport the individual panels by truck and to assemble the structure on-site, a task undertaken by MTH Industries.The sculpture's weight raised concerns. Estimating the thickness of the steel needed to create the sculpture's desired aesthetics before fabrication was difficult. Cloud Gate was originally estimated to weigh  when completed. However, the final figure was almost twice as heavy at . This extra weight required engineers to reconsider the sculpture's supporting structures. The roof of the Park Grill, upon which Cloud Gate sits, had to be built strong enough to bear the weight. The large retaining wall separating Chicago's Metra train tracks from the North Grant Park garage supports much of the weight of the sculpture and forms the back side of the restaurant. This wall, along with the rest of the garage's foundation, required additional bracing before the piece was erected.  The first structural pieces, two type 304 stainless steel rings, were put into place in February 2004. As construction continued, crisscrossing pipe trusses were assembled between the two rings. The trusses and supporting structures were only present for the construction phases. The finished sculpture has no inner bracing. The supporting structural components were designed and constructed to ensure that no specific point was overloaded, and to avoid producing unwanted indentations on the exterior shell. The frame was also designed to expand and contract with the sculpture as temperatures fluctuate. As a result, the two large rings supporting the sculpture move independently of each other, allowing the shell to move independently of the rings. Metal stiffeners were welded to each panel's interior face to provide a small degree of rigidity. About a third of the plates, along with the entire interior structure, were fabricated in Oakland. Welders used keyhole welding machines rather than traditional welding guns. Construction began with the omphalos, where plates were attached to the supporting internal steel structure, from the inside  of the sculpture downward to the outermost surfaces. This sequence caused the structure to resemble a large sombrero when the bottom was complete.The shell of Cloud Gate was fully erected for the grand opening of Millennium Park on July 15, 2004, although it was unpolished and thus unfinished, because its assembly had fallen behind schedule. The piece was temporarily uncovered on July 8 for the opening, although Kapoor was unhappy with this as it allowed the public to see the sculpture in an unfinished state. The original plan was to re-erect the tent around the sculpture for polishing on July 24, but public appreciation for the piece convinced park officials to leave it uncovered for several months. The tent was again erected in January 2005 as a 24-person crew from Ironworkers Local 63 polished the seams between each plate. In order to grind, sand and polish the seams, six levels of scaffolding were erected around the sides of the sculpture, while climbing ropes and harnesses were used to polish harder-to-reach areas. Every weld on the Cloud Gate underwent a five-stage process, required to produce the sculpture's mirror-like finish. The cost for the piece was first estimated at $6 million; this had escalated to $11.5 million by the time the park opened in 2004, with the final figure standing at $23 million in 2006. No public funds were involved; all funding came from donations from individuals and corporations. The lower  of Cloud Gate is wiped down twice a day by hand, while the entire sculpture is cleaned twice a year with  of liquid detergent. The daily cleanings use a Windex-like solution, while the semi-annual cleanings use Tide. A notable February 2009 incident saw two names etched in letters about  tall on the northeast side of the curved sculpture. The graffiti was removed by the same firm that did the original polishing.In August 2023, the City of Chicago began renovation and construction work on Grainger Plaza, which also closed public access to . The work involved accessibility improvements, including ramps and new steps, replacing pavers, and waterproofing. After being behind fencing for most of a year, the sculpture was reopened to the public on June 23, 2024.

Prompt: クラウド・ゲートに関して、どのように建設と保守が議論されていますか？英語で出力して下さい。

Atelier One
Chicago
Cloud Gate
Grainger Plaza
Metra
Millennium Park
Oakland, California
Panama Canal
Park Grill
Cloud Gate
Windex


section

クラウド・ゲート

Chicago Mayor Richard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Cloud Gate Day". Kapoor attended the celebration, while local jazz trumpeter and bandleader Orbert Davis and the Chicago Jazz Philharmonic played "Fanfare for Cloud Gate", which Davis composed. The public took an instant liking to the sculpture, affectionately referring to it as "The Bean". Cloud Gate has become a popular piece of public art and is now a fixture on many souvenirs such as postcards, sweatshirts, and posters. The sculpture has attracted a large number of locals, tourists, and art aficionados from around the world. The sculpture is now the piece by which Kapoor is most identified in the United States.Time describes the piece as an essential photo opportunity, and more of a destination than a work of art. while USA Today refers to the sculpture as a monumental abstract work. Chicago art critic Edward Lifson considers Cloud Gate to be among the greatest pieces of public art in the world. Time named Millennium Park one of the ten best architectural achievements of 2004, citing Cloud Gate as one of the park's major attractions.</ref>  width  = 25%  align  = left}}When the park first opened in 2004, Metra police stopped a Columbia College Chicago journalism student who was working on a photography project in Millennium Park and confiscated his film because of fears of terrorism. In 2005, the sculpture attracted some controversy when a professional photographer without a paid permit was denied access to the piece. As is the case for all works of art currently covered by United States copyright law, the artist holds the copyright for the sculpture. This allows the public to freely photograph Cloud Gate, but permission from Kapoor or the City of Chicago  is required for any commercial reproductions of the photographs. The city first set a policy of collecting permit fees for photographs. These permits were initially set at $350 per day for professional still photographers, $1,200 per day for professional videographers and $50 per hour for wedding photographers. The policy has been changed so permits are only required for large-scale film, video and photography requiring ten-person crews and equipment.In addition to restricting photography of public art, closing a public park for a private event has also been controversial. In 2005 and 2006, almost all of Millennium Park was closed for a day for corporate events. On both occasions, as one of the park's primary attractions, Cloud Gate was the focus of controversy. On September 8, 2005, Toyota Motor Sales USA paid $800,000 to rent most venues in the park including Cloud Gate and the surrounding AT&T Plaza from 6 a.m. to 11 p.m. On August 7, 2006, Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and only had exclusive access to Cloud Gate after 4 p.m. These corporate closures denied tourists access to Kapoor's public sculpture, and commuters who walk through the park were forced to take alternative routes. City officials stated that the money would help finance free public programs in Millennium Park. Though designed to resemble an oil bubble, Kapoor hoped that legal action would be taken against what he termed a Chinese knockoff. Mayor Rahm Emanuel was less concerned and said that it was a flattering imitation.A movement to "Windex the Bean" was started in 2017, with the premise that the sculpture is dirty and needs to be cleaned. Posted as an event on Facebook, over 2000 people marked themselves as "going". The post also spawned a variety of similar joke movements.

Prompt: クラウド・ゲートに焦点を当てて、その受付を説明してください。英語で出力して下さい。

Allstate
Chicago
Cloud Gate
Columbia College Chicago
Edward Lifson
Metra
Millennium Park
Orbert Davis
Rahm Emanuel
Richard M. Daley
Cloud Gate
USA Today
Windex


section

クラウド・ゲート

Chicago Mayor Richard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Cloud Gate Day". Kapoor attended the celebration, while local jazz trumpeter and bandleader Orbert Davis and the Chicago Jazz Philharmonic played "Fanfare for Cloud Gate", which Davis composed. The public took an instant liking to the sculpture, affectionately referring to it as "The Bean". Cloud Gate has become a popular piece of public art and is now a fixture on many souvenirs such as postcards, sweatshirts, and posters. The sculpture has attracted a large number of locals, tourists, and art aficionados from around the world. The sculpture is now the piece by which Kapoor is most identified in the United States.Time describes the piece as an essential photo opportunity, and more of a destination than a work of art. while USA Today refers to the sculpture as a monumental abstract work. Chicago art critic Edward Lifson considers Cloud Gate to be among the greatest pieces of public art in the world. Time named Millennium Park one of the ten best architectural achievements of 2004, citing Cloud Gate as one of the park's major attractions.</ref>  width  = 25%  align  = left}}When the park first opened in 2004, Metra police stopped a Columbia College Chicago journalism student who was working on a photography project in Millennium Park and confiscated his film because of fears of terrorism. In 2005, the sculpture attracted some controversy when a professional photographer without a paid permit was denied access to the piece. As is the case for all works of art currently covered by United States copyright law, the artist holds the copyright for the sculpture. This allows the public to freely photograph Cloud Gate, but permission from Kapoor or the City of Chicago  is required for any commercial reproductions of the photographs. The city first set a policy of collecting permit fees for photographs. These permits were initially set at $350 per day for professional still photographers, $1,200 per day for professional videographers and $50 per hour for wedding photographers. The policy has been changed so permits are only required for large-scale film, video and photography requiring ten-person crews and equipment.In addition to restricting photography of public art, closing a public park for a private event has also been controversial. In 2005 and 2006, almost all of Millennium Park was closed for a day for corporate events. On both occasions, as one of the park's primary attractions, Cloud Gate was the focus of controversy. On September 8, 2005, Toyota Motor Sales USA paid $800,000 to rent most venues in the park including Cloud Gate and the surrounding AT&T Plaza from 6 a.m. to 11 p.m. On August 7, 2006, Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and only had exclusive access to Cloud Gate after 4 p.m. These corporate closures denied tourists access to Kapoor's public sculpture, and commuters who walk through the park were forced to take alternative routes. City officials stated that the money would help finance free public programs in Millennium Park. Though designed to resemble an oil bubble, Kapoor hoped that legal action would be taken against what he termed a Chinese knockoff. Mayor Rahm Emanuel was less concerned and said that it was a flattering imitation.A movement to "Windex the Bean" was started in 2017, with the premise that the sculpture is dirty and needs to be cleaned. Posted as an event on Facebook, over 2000 people marked themselves as "going". The post also spawned a variety of similar joke movements.

Prompt: クラウド・ゲートの受付を説明してください。英語で出力して下さい。

Allstate
Chicago
Cloud Gate
Columbia College Chicago
Edward Lifson
Metra
Millennium Park
Orbert Davis
Rahm Emanuel
Richard M. Daley
Cloud Gate
USA Today
Windex


section

クラウド・ゲート

Chicago Mayor Richard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Cloud Gate Day". Kapoor attended the celebration, while local jazz trumpeter and bandleader Orbert Davis and the Chicago Jazz Philharmonic played "Fanfare for Cloud Gate", which Davis composed. The public took an instant liking to the sculpture, affectionately referring to it as "The Bean". Cloud Gate has become a popular piece of public art and is now a fixture on many souvenirs such as postcards, sweatshirts, and posters. The sculpture has attracted a large number of locals, tourists, and art aficionados from around the world. The sculpture is now the piece by which Kapoor is most identified in the United States.Time describes the piece as an essential photo opportunity, and more of a destination than a work of art. while USA Today refers to the sculpture as a monumental abstract work. Chicago art critic Edward Lifson considers Cloud Gate to be among the greatest pieces of public art in the world. Time named Millennium Park one of the ten best architectural achievements of 2004, citing Cloud Gate as one of the park's major attractions.</ref>  width  = 25%  align  = left}}When the park first opened in 2004, Metra police stopped a Columbia College Chicago journalism student who was working on a photography project in Millennium Park and confiscated his film because of fears of terrorism. In 2005, the sculpture attracted some controversy when a professional photographer without a paid permit was denied access to the piece. As is the case for all works of art currently covered by United States copyright law, the artist holds the copyright for the sculpture. This allows the public to freely photograph Cloud Gate, but permission from Kapoor or the City of Chicago  is required for any commercial reproductions of the photographs. The city first set a policy of collecting permit fees for photographs. These permits were initially set at $350 per day for professional still photographers, $1,200 per day for professional videographers and $50 per hour for wedding photographers. The policy has been changed so permits are only required for large-scale film, video and photography requiring ten-person crews and equipment.In addition to restricting photography of public art, closing a public park for a private event has also been controversial. In 2005 and 2006, almost all of Millennium Park was closed for a day for corporate events. On both occasions, as one of the park's primary attractions, Cloud Gate was the focus of controversy. On September 8, 2005, Toyota Motor Sales USA paid $800,000 to rent most venues in the park including Cloud Gate and the surrounding AT&T Plaza from 6 a.m. to 11 p.m. On August 7, 2006, Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and only had exclusive access to Cloud Gate after 4 p.m. These corporate closures denied tourists access to Kapoor's public sculpture, and commuters who walk through the park were forced to take alternative routes. City officials stated that the money would help finance free public programs in Millennium Park. Though designed to resemble an oil bubble, Kapoor hoped that legal action would be taken against what he termed a Chinese knockoff. Mayor Rahm Emanuel was less concerned and said that it was a flattering imitation.A movement to "Windex the Bean" was started in 2017, with the premise that the sculpture is dirty and needs to be cleaned. Posted as an event on Facebook, over 2000 people marked themselves as "going". The post also spawned a variety of similar joke movements.

Prompt: クラウド・ゲート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。

Allstate
Chicago
Cloud Gate
Columbia College Chicago
Edward Lifson
Metra
Millennium Park
Orbert Davis
Rahm Emanuel
Richard M. Daley
Cloud Gate
USA Today
Windex


section

クラウド・ゲート

Chicago Mayor Richard M. Daley declared the day of the sculpture's dedication, May 15, 2006, to be "Cloud Gate Day". Kapoor attended the celebration, while local jazz trumpeter and bandleader Orbert Davis and the Chicago Jazz Philharmonic played "Fanfare for Cloud Gate", which Davis composed. The public took an instant liking to the sculpture, affectionately referring to it as "The Bean". Cloud Gate has become a popular piece of public art and is now a fixture on many souvenirs such as postcards, sweatshirts, and posters. The sculpture has attracted a large number of locals, tourists, and art aficionados from around the world. The sculpture is now the piece by which Kapoor is most identified in the United States.Time describes the piece as an essential photo opportunity, and more of a destination than a work of art. while USA Today refers to the sculpture as a monumental abstract work. Chicago art critic Edward Lifson considers Cloud Gate to be among the greatest pieces of public art in the world. Time named Millennium Park one of the ten best architectural achievements of 2004, citing Cloud Gate as one of the park's major attractions.</ref>  width  = 25%  align  = left}}When the park first opened in 2004, Metra police stopped a Columbia College Chicago journalism student who was working on a photography project in Millennium Park and confiscated his film because of fears of terrorism. In 2005, the sculpture attracted some controversy when a professional photographer without a paid permit was denied access to the piece. As is the case for all works of art currently covered by United States copyright law, the artist holds the copyright for the sculpture. This allows the public to freely photograph Cloud Gate, but permission from Kapoor or the City of Chicago  is required for any commercial reproductions of the photographs. The city first set a policy of collecting permit fees for photographs. These permits were initially set at $350 per day for professional still photographers, $1,200 per day for professional videographers and $50 per hour for wedding photographers. The policy has been changed so permits are only required for large-scale film, video and photography requiring ten-person crews and equipment.In addition to restricting photography of public art, closing a public park for a private event has also been controversial. In 2005 and 2006, almost all of Millennium Park was closed for a day for corporate events. On both occasions, as one of the park's primary attractions, Cloud Gate was the focus of controversy. On September 8, 2005, Toyota Motor Sales USA paid $800,000 to rent most venues in the park including Cloud Gate and the surrounding AT&T Plaza from 6 a.m. to 11 p.m. On August 7, 2006, Allstate paid $700,000 to rent the park. For this price, Allstate acquired the visitation rights to a different set of features and only had exclusive access to Cloud Gate after 4 p.m. These corporate closures denied tourists access to Kapoor's public sculpture, and commuters who walk through the park were forced to take alternative routes. City officials stated that the money would help finance free public programs in Millennium Park. Though designed to resemble an oil bubble, Kapoor hoped that legal action would be taken against what he termed a Chinese knockoff. Mayor Rahm Emanuel was less concerned and said that it was a flattering imitation.A movement to "Windex the Bean" was started in 2017, with the premise that the sculpture is dirty and needs to be cleaned. Posted as an event on Facebook, over 2000 people marked themselves as "going". The post also spawned a variety of similar joke movements.

Prompt: クラウド・ゲートに関して、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。

Allstate
Chicago
Cloud Gate
Columbia College Chicago
Edward Lifson
Metra
Millennium Park
Orbert Davis
Rahm Emanuel
Richard M. Daley
Cloud Gate
USA Today
Windex


section

クラウド・ゲート

The sculpture has been used as a backdrop in commercial films, notably in the 2006 Hollywood film The Break-Up, which had to reshoot several scenes because the sculpture was under cover for the initial filming. It is also prominently featured in the ending scene of Source Code. Director Duncan Jones felt the structure was a metaphor for the movie's subject matter and aimed for it to be shown at the beginning and end of the movie. The sculpture served as an aesthetic and symbolic setting for the 2012 film The Vow when the lead characters share a kiss under it. It also appears in the video to "Homecoming", a song by Chicago native Kanye West, featuring Chris Martin of the band Coldplay. The sculpture is also featured in the 2008 mumblecore film Nights and Weekends. It was also featured in the Bollywood film Dhoom 3 and the 2014 movie Transformers: Age of Extinction, the fourth installment in the Transformers series. A modified reproduction of Cloud Gate is also included in Watch Dogs, a video game released in 2014 that takes place in Chicago. Unlike the real sculpture, the in-game replica is a curved, white torus.Cloud Gate plays a prominent role in Battle Ground, the 17th title in the Dresden Files urban fantasy novel series by Jim Butcher. In the Chicago of the novels, the sculpture was commissioned by Queen Mab, ruler of the Winter Court of Faerie, and proves to be hiding a large stockpile of armaments. Its placement by the Winter Court was in anticipation of a massive supernatural attack on the city of Chicago.

Prompt: クラウド・ゲートに焦点を当てて、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。

Chicago
Chris Martin
Cloud Gate
Coldplay
Dhoom 3
Duncan Jones
Jim Butcher
Kanye West
Nights and Weekends
Source Code
Cloud Gate
The Break-Up
Transformers: Age of Extinction


section

クラウド・ゲート

The sculpture has been used as a backdrop in commercial films, notably in the 2006 Hollywood film The Break-Up, which had to reshoot several scenes because the sculpture was under cover for the initial filming. It is also prominently featured in the ending scene of Source Code. Director Duncan Jones felt the structure was a metaphor for the movie's subject matter and aimed for it to be shown at the beginning and end of the movie. The sculpture served as an aesthetic and symbolic setting for the 2012 film The Vow when the lead characters share a kiss under it. It also appears in the video to "Homecoming", a song by Chicago native Kanye West, featuring Chris Martin of the band Coldplay. The sculpture is also featured in the 2008 mumblecore film Nights and Weekends. It was also featured in the Bollywood film Dhoom 3 and the 2014 movie Transformers: Age of Extinction, the fourth installment in the Transformers series. A modified reproduction of Cloud Gate is also included in Watch Dogs, a video game released in 2014 that takes place in Chicago. Unlike the real sculpture, the in-game replica is a curved, white torus.Cloud Gate plays a prominent role in Battle Ground, the 17th title in the Dresden Files urban fantasy novel series by Jim Butcher. In the Chicago of the novels, the sculpture was commissioned by Queen Mab, ruler of the Winter Court of Faerie, and proves to be hiding a large stockpile of armaments. Its placement by the Winter Court was in anticipation of a massive supernatural attack on the city of Chicago.

Prompt: クラウド・ゲート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。

Chicago
Chris Martin
Cloud Gate
Coldplay
Dhoom 3
Duncan Jones
Jim Butcher
Kanye West
Nights and Weekends
Source Code
Cloud Gate
The Break-Up
Transformers: Age of Extinction


section

クラウド・ゲート

The sculpture has been used as a backdrop in commercial films, notably in the 2006 Hollywood film The Break-Up, which had to reshoot several scenes because the sculpture was under cover for the initial filming. It is also prominently featured in the ending scene of Source Code. Director Duncan Jones felt the structure was a metaphor for the movie's subject matter and aimed for it to be shown at the beginning and end of the movie. The sculpture served as an aesthetic and symbolic setting for the 2012 film The Vow when the lead characters share a kiss under it. It also appears in the video to "Homecoming", a song by Chicago native Kanye West, featuring Chris Martin of the band Coldplay. The sculpture is also featured in the 2008 mumblecore film Nights and Weekends. It was also featured in the Bollywood film Dhoom 3 and the 2014 movie Transformers: Age of Extinction, the fourth installment in the Transformers series. A modified reproduction of Cloud Gate is also included in Watch Dogs, a video game released in 2014 that takes place in Chicago. Unlike the real sculpture, the in-game replica is a curved, white torus.Cloud Gate plays a prominent role in Battle Ground, the 17th title in the Dresden Files urban fantasy novel series by Jim Butcher. In the Chicago of the novels, the sculpture was commissioned by Queen Mab, ruler of the Winter Court of Faerie, and proves to be hiding a large stockpile of armaments. Its placement by the Winter Court was in anticipation of a massive supernatural attack on the city of Chicago.

Prompt: クラウド・ゲート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。

Chicago
Chris Martin
Cloud Gate
Coldplay
Dhoom 3
Duncan Jones
Jim Butcher
Kanye West
Nights and Weekends
Source Code
Cloud Gate
The Break-Up
Transformers: Age of Extinction


section

クラウド・ゲート

The sculpture has been used as a backdrop in commercial films, notably in the 2006 Hollywood film The Break-Up, which had to reshoot several scenes because the sculpture was under cover for the initial filming. It is also prominently featured in the ending scene of Source Code. Director Duncan Jones felt the structure was a metaphor for the movie's subject matter and aimed for it to be shown at the beginning and end of the movie. The sculpture served as an aesthetic and symbolic setting for the 2012 film The Vow when the lead characters share a kiss under it. It also appears in the video to "Homecoming", a song by Chicago native Kanye West, featuring Chris Martin of the band Coldplay. The sculpture is also featured in the 2008 mumblecore film Nights and Weekends. It was also featured in the Bollywood film Dhoom 3 and the 2014 movie Transformers: Age of Extinction, the fourth installment in the Transformers series. A modified reproduction of Cloud Gate is also included in Watch Dogs, a video game released in 2014 that takes place in Chicago. Unlike the real sculpture, the in-game replica is a curved, white torus.Cloud Gate plays a prominent role in Battle Ground, the 17th title in the Dresden Files urban fantasy novel series by Jim Butcher. In the Chicago of the novels, the sculpture was commissioned by Queen Mab, ruler of the Winter Court of Faerie, and proves to be hiding a large stockpile of armaments. Its placement by the Winter Court was in anticipation of a massive supernatural attack on the city of Chicago.

Prompt: クラウド・ゲートに関して、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。

Chicago
Chris Martin
Cloud Gate
Coldplay
Dhoom 3
Duncan Jones
Jim Butcher
Kanye West
Nights and Weekends
Source Code
Cloud Gate
The Break-Up
Transformers: Age of Extinction


section

クラウド・ゲート

List of public art in Chicago Cloud Column, 2006 sculpture by the same artist

Prompt: クラウド・ゲートに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Chicago
Cloud Column
List of public art in Chicago


section

クラウド・ゲート

List of public art in Chicago Cloud Column, 2006 sculpture by the same artist

Prompt: クラウド・ゲートの参照を説明してください。英語で出力して下さい。

Chicago
Cloud Column
List of public art in Chicago


section

クラウド・ゲート

List of public art in Chicago Cloud Column, 2006 sculpture by the same artist

Prompt: クラウド・ゲート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。

Chicago
Cloud Column
List of public art in Chicago