subsection

リッタの聖母

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:}}}}The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.In 1784, the earliest secure date in its provenance, the painting was bought by Prince  from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

Prompt: リッタの聖母の文脈で、起源と歴史を説明してください。英語で出力して下さい。

Hermitage Museum
Marcantonio Michiel
Saint Petersburg


subsection

リッタの聖母

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:}}}}The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.In 1784, the earliest secure date in its provenance, the painting was bought by Prince  from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

Prompt: リッタの聖母の歴史に関する起源を説明してください。英語で出力して下さい。

Hermitage Museum
Marcantonio Michiel
Saint Petersburg


subsection

リッタの聖母

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:}}}}The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.In 1784, the earliest secure date in its provenance, the painting was bought by Prince  from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

Prompt: リッタの聖母では、どのように歴史の起源が説明されていますか？英語で出力して下さい。

Hermitage Museum
Marcantonio Michiel
Saint Petersburg


subsection

リッタの聖母

It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:}}}}The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.In 1784, the earliest secure date in its provenance, the painting was bought by Prince  from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

Prompt: リッタの聖母の歴史における起源の特徴を説明してください。英語で出力して下さい。

Hermitage Museum
Marcantonio Michiel
Saint Petersburg


section

ホラティウス兄弟の誓い

Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.

Prompt: ホラティウス兄弟の誓いに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

3
Alba Longa
Jacques-Louis David
Livy
Louvre
Livy


section

ホラティウス兄弟の誓い

Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.

Prompt: ホラティウス兄弟の誓いの抽象を説明してください。英語で出力して下さい。

3
Alba Longa
Jacques-Louis David
Livy
Louvre
Livy


section

ホラティウス兄弟の誓い

Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.

Prompt: ホラティウス兄弟の誓い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。

3
Alba Longa
Jacques-Louis David
Livy
Louvre
Livy


section

ホラティウス兄弟の誓い

Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.

Prompt: ホラティウス兄弟の誓いに関して、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。

3
Alba Longa
Jacques-Louis David
Livy
Louvre
Livy


section

ホラティウス兄弟の誓い

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

Prompt: ホラティウス兄弟の誓いに焦点を当てて、その作業委託を説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

Prompt: ホラティウス兄弟の誓いの作業委託を説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

Prompt: ホラティウス兄弟の誓いはどのように作業委託を説明していますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.

Prompt: ホラティウス兄弟の誓いに関して、どのように作業委託が議論されていますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}

Prompt: ホラティウス兄弟の誓いに焦点を当てて、その象徴的テーマを説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}

Prompt: ホラティウス兄弟の誓いの象徴的テーマを説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}

Prompt: ホラティウス兄弟の誓いはどのように象徴的テーマを説明していますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}

Prompt: ホラティウス兄弟の誓いに関して、どのように象徴的テーマが議論されていますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Prompt: ホラティウス兄弟の誓いに焦点を当てて、その作曲技法を説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Prompt: ホラティウス兄弟の誓いの作曲技法を説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Prompt: ホラティウス兄弟の誓いはどのように作曲技法を説明していますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.

Prompt: ホラティウス兄弟の誓いに関して、どのように作曲技法が議論されていますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Prompt: ホラティウス兄弟の誓いに焦点を当てて、その受付を説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Prompt: ホラティウス兄弟の誓いの受付を説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Prompt: ホラティウス兄弟の誓いはどのように受付を説明していますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.

Prompt: ホラティウス兄弟の誓いに関して、どのように受付が議論されていますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

List of paintings by Jacques-Louis David

Prompt: ホラティウス兄弟の誓いに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

List of paintings by Jacques-Louis David

Prompt: ホラティウス兄弟の誓いの参照を説明してください。英語で出力して下さい。


section

ホラティウス兄弟の誓い

List of paintings by Jacques-Louis David

Prompt: ホラティウス兄弟の誓いはどのように参照を説明していますか？英語で出力して下さい。


section

ホラティウス兄弟の誓い

List of paintings by Jacques-Louis David

Prompt: ホラティウス兄弟の誓いに関して、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。


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聖テレジアの法悦

type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.

Prompt: 聖テレジアの法悦に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Baroque
Cornaro family
Gian Lorenzo Bernini
Rome
Teresa of Ávila
Teresa of Ávila


section

聖テレジアの法悦

type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.

Prompt: 聖テレジアの法悦の抽象を説明してください。英語で出力して下さい。

Baroque
Cornaro family
Gian Lorenzo Bernini
Rome
Teresa of Ávila
Teresa of Ávila


section

聖テレジアの法悦

type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.

Prompt: 聖テレジアの法悦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。

Baroque
Cornaro family
Gian Lorenzo Bernini
Rome
Teresa of Ávila
Teresa of Ávila


section

聖テレジアの法悦

type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.

Prompt: 聖テレジアの法悦に関して、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。

Baroque
Cornaro family
Gian Lorenzo Bernini
Rome
Teresa of Ávila
Teresa of Ávila


section

聖テレジアの法悦

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.

Prompt: 聖テレジアの法悦に焦点を当てて、その手数料を説明してください。英語で出力して下さい。

Carmelites
Discalced Carmelites
Hermitage Museum


section

聖テレジアの法悦

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.

Prompt: 聖テレジアの法悦の手数料を説明してください。英語で出力して下さい。

Carmelites
Discalced Carmelites
Hermitage Museum


section

聖テレジアの法悦

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.

Prompt: 聖テレジアの法悦はどのように手数料を説明していますか？英語で出力して下さい。

Carmelites
Discalced Carmelites
Hermitage Museum


section

聖テレジアの法悦

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.

Prompt: 聖テレジアの法悦に関して、どのように手数料が議論されていますか？英語で出力して下さい。

Carmelites
Discalced Carmelites
Hermitage Museum


section

聖テレジアの法悦

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."

Prompt: 聖テレジアの法悦に焦点を当てて、その解釈を説明してください。英語で出力して下さい。


section

聖テレジアの法悦

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."

Prompt: 聖テレジアの法悦の解釈を説明してください。英語で出力して下さい。


section

聖テレジアの法悦

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."

Prompt: 聖テレジアの法悦はどのように解釈を説明していますか？英語で出力して下さい。


section

聖テレジアの法悦

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."

Prompt: 聖テレジアの法悦に関して、どのように解釈が議論されていますか？英語で出力して下さい。


section

聖テレジアの法悦

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle."Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate."

Prompt: 聖テレジアの法悦に焦点を当てて、その批判を説明してください。英語で出力して下さい。


section

聖テレジアの法悦

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle."Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate."

Prompt: 聖テレジアの法悦の批判を説明してください。英語で出力して下さい。


section

聖テレジアの法悦

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle."Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate."

Prompt: 聖テレジアの法悦はどのように批判を説明していますか？英語で出力して下さい。


section

聖テレジアの法悦

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle."Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate."

Prompt: 聖テレジアの法悦に関して、どのように批判が議論されていますか？英語で出力して下さい。


section

聖テレジアの法悦

See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.

Prompt: 聖テレジアの法悦に焦点を当てて、そのベルニーニの類似作品を説明してください。英語で出力して下さい。

Baroque
Blessed Ludovica Albertoni
Galleria Borghese
Rome
San Francesco a Ripa


section

聖テレジアの法悦

See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.

Prompt: 聖テレジアの法悦のベルニーニの類似作品を説明してください。英語で出力して下さい。

Baroque
Blessed Ludovica Albertoni
Galleria Borghese
Rome
San Francesco a Ripa


section

聖テレジアの法悦

See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.

Prompt: 聖テレジアの法悦はどのようにベルニーニの類似作品を説明していますか？英語で出力して下さい。

Baroque
Blessed Ludovica Albertoni
Galleria Borghese
Rome
San Francesco a Ripa


section

聖テレジアの法悦

See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.

Prompt: 聖テレジアの法悦に関して、どのようにベルニーニの類似作品が議論されていますか？英語で出力して下さい。

Baroque
Blessed Ludovica Albertoni
Galleria Borghese
Rome
San Francesco a Ripa


section

聖テレジアの法悦

Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.

Prompt: 聖テレジアの法悦に焦点を当てて、その影響を与えるまたは影響を受ける作品を説明してください。英語で出力して下さい。

Abraham Verghese
Angels & Demons
Banksy
Cutting for Stone
Dan Brown
David Foster Wallace
Ercole Ferrata
Illuminati
Infinite Jest
Peter Hammill
Pope Urban VIII
Rome
Stefano Maderno
Street art
The Silent Corner and the Empty Stage


section

聖テレジアの法悦

Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.

Prompt: 聖テレジアの法悦の影響を与えるまたは影響を受ける作品を説明してください。英語で出力して下さい。

Abraham Verghese
Angels & Demons
Banksy
Cutting for Stone
Dan Brown
David Foster Wallace
Ercole Ferrata
Illuminati
Infinite Jest
Peter Hammill
Pope Urban VIII
Rome
Stefano Maderno
Street art
The Silent Corner and the Empty Stage


section

聖テレジアの法悦

Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.

Prompt: 聖テレジアの法悦はどのように影響を与えるまたは影響を受ける作品を説明していますか？英語で出力して下さい。

Abraham Verghese
Angels & Demons
Banksy
Cutting for Stone
Dan Brown
David Foster Wallace
Ercole Ferrata
Illuminati
Infinite Jest
Peter Hammill
Pope Urban VIII
Rome
Stefano Maderno
Street art
The Silent Corner and the Empty Stage


section

聖テレジアの法悦

Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.

Prompt: 聖テレジアの法悦に関して、どのように影響を与えるまたは影響を受ける作品が議論されていますか？英語で出力して下さい。

Abraham Verghese
Angels & Demons
Banksy
Cutting for Stone
Dan Brown
David Foster Wallace
Ercole Ferrata
Illuminati
Infinite Jest
Peter Hammill
Pope Urban VIII
Rome
Stefano Maderno
Street art
The Silent Corner and the Empty Stage


section

聖テレジアの法悦

Prompt: 聖テレジアの法悦に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

聖テレジアの法悦

Prompt: 聖テレジアの法悦の参照を説明してください。英語で出力して下さい。

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

聖テレジアの法悦

Prompt: 聖テレジアの法悦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。

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

聖テレジアの法悦

Prompt: 聖テレジアの法悦に関して、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。

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

聖テレジアの法悦

Prompt: 聖テレジアの法悦に焦点を当てて、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

聖テレジアの法悦

Prompt: 聖テレジアの法悦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

聖テレジアの法悦

Prompt: 聖テレジアの法悦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

聖テレジアの法悦

Prompt: 聖テレジアの法悦に関して、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

アビニヨンの娘たち

Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in s Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-voir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, , instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel , or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization s chicas de Avignon .

Prompt: アビニヨンの娘たちに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

André Salmon
Baroque
Bathers with a Turtle
El Greco
Paul Gauguin
Georges Braque
Giotto
Henri Matisse


section

アビニヨンの娘たち

Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in s Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-voir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, , instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel , or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization s chicas de Avignon .

Prompt: アビニヨンの娘たちの抽象を説明してください。英語で出力して下さい。

André Salmon
Baroque
Bathers with a Turtle
El Greco
Paul Gauguin
Georges Braque
Giotto
Henri Matisse


section

アビニヨンの娘たち

Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in s Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-voir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, , instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel , or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization s chicas de Avignon .

Prompt: アビニヨンの娘たちはどのように抽象を説明していますか？英語で出力して下さい。

André Salmon
Baroque
Bathers with a Turtle
El Greco
Paul Gauguin
Georges Braque
Giotto
Henri Matisse


section

アビニヨンの娘たち

Drawing from tribal primitivism while eschewing central dictates of Renaissance perspective and verisimilitude for a compressed picture plane using a Baroque composition while employing Velazquez’s confrontational approach seen in s Meninas, Picasso sought to take the lead of the avant-garde from Henri Matisse. John Richardson said Demoiselles made Picasso the most pivotal artist in Western painting since Giotto and laid a path forward for Picasso and Georges Braque to follow in their joint development of cubism, the effects of which on modern art were profound and unsurpassed in the 20th century.Les Demoiselles was revolutionary, controversial and led to widespread anger and disagreement, even amongst the painter's closest associates and friends. Henri Matisse considered the work something of a bad joke yet indirectly reacted to it in his 1908 Bathers with a Turtle. Georges Braque too initially disliked the painting yet studied the work in great detail. His subsequent friendship and collaboration with Picasso led to the cubist revolution. Its resemblance to Cézanne's The Bathers, Paul Gauguin's statue Oviri and El Greco's Opening of the Fifth Seal has been widely discussed by later critics.At the time of its first exhibition in 1916, the painting was deemed immoral. Painted in Picasso's studio in the Bateau-voir in Montmartre, Paris, it was seen publicly for the first time at the Salon d'Antin in July 1916, at an exhibition organized by the poet André Salmon. It was at this exhibition that Salmon, who had previously titled the painting in 1912 Le bordel philosophique, renamed it to its current, less scandalous title, , instead of the title originally chosen by Picasso, Le Bordel d'Avignon. Picasso, who always referred to it as mon bordel , or Le Bordel d'Avignon, never liked Salmon's title and would have instead preferred the bowdlerization s chicas de Avignon .

Prompt: アビニヨンの娘たちに関して、どのように抽象が議論されていますか？英語で出力して下さい。

André Salmon
Baroque
Bathers with a Turtle
El Greco
Paul Gauguin
Georges Braque
Giotto
Henri Matisse


section

アビニヨンの娘たち

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.}}He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques , which recalls the work of Gustave Courbet  and Édouard Manet ; and Boy Leading a Horse , which recalls Cézanne's Bather  and El Greco's Saint Martin and the Beggar . While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive  art. He began exhibiting his work in the galleries of Berthe Weill  and Ambroise Vollard , quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse , who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone , and her sister Etta Cone , also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Prompt: アビニヨンの娘たちに焦点を当てて、その背景と開発を説明してください。英語で出力して下さい。

Ambroise Vollard
Barcelona
Berthe Weill
Boy Leading a Horse
El Greco
Family of Saltimbanques
Paul Gauguin
Gertrude Stein
Gustave Courbet
Henri Matisse
Leo Stein
Édouard Manet


section

アビニヨンの娘たち

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.}}He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques , which recalls the work of Gustave Courbet  and Édouard Manet ; and Boy Leading a Horse , which recalls Cézanne's Bather  and El Greco's Saint Martin and the Beggar . While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive  art. He began exhibiting his work in the galleries of Berthe Weill  and Ambroise Vollard , quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse , who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone , and her sister Etta Cone , also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Prompt: アビニヨンの娘たちの背景と開発を説明してください。英語で出力して下さい。

Ambroise Vollard
Barcelona
Berthe Weill
Boy Leading a Horse
El Greco
Family of Saltimbanques
Paul Gauguin
Gertrude Stein
Gustave Courbet
Henri Matisse
Leo Stein
Édouard Manet


section

アビニヨンの娘たち

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.}}He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques , which recalls the work of Gustave Courbet  and Édouard Manet ; and Boy Leading a Horse , which recalls Cézanne's Bather  and El Greco's Saint Martin and the Beggar . While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive  art. He began exhibiting his work in the galleries of Berthe Weill  and Ambroise Vollard , quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse , who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone , and her sister Etta Cone , also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Prompt: アビニヨンの娘たちはどのように背景と開発を説明していますか？英語で出力して下さい。

Ambroise Vollard
Barcelona
Berthe Weill
Boy Leading a Horse
El Greco
Family of Saltimbanques
Paul Gauguin
Gertrude Stein
Gustave Courbet
Henri Matisse
Leo Stein
Édouard Manet


section

アビニヨンの娘たち

Picasso came into his own as an important artist during the first decade of the 20th century. He arrived in Paris from Spain around the turn of the century as a young, ambitious painter out to make a name for himself. For several years he alternated between living and working in Barcelona, Madrid and the Spanish countryside, and made frequent trips to Paris.By 1904, he was fully settled in Paris and had established several studios, important relationships with both friends and colleagues. Between 1901 and 1904, Picasso began to achieve recognition for his Blue Period paintings. In the main these were studies of poverty and desperation based on scenes he had seen in Spain and Paris at the turn of the century. Subjects included gaunt families, blind figures, and personal encounters; other paintings depicted his friends, but most reflected and expressed a sense of blueness and despair.}}He followed his success by developing into his Rose Period from 1904 to 1907, which introduced a strong element of sensuality and sexuality into his work. The Rose period depictions of acrobats, circus performers and theatrical characters are rendered in warmer, brighter colors and are far more hopeful and joyful in their depictions of the bohemian life in the Parisian avant-garde and its environs. The Rose period produced two important large masterpieces: Family of Saltimbanques , which recalls the work of Gustave Courbet  and Édouard Manet ; and Boy Leading a Horse , which recalls Cézanne's Bather  and El Greco's Saint Martin and the Beggar . While he already had a considerable following by the middle of 1906, Picasso enjoyed further success with his paintings of massive oversized nude women, monumental sculptural figures that recalled the work of Paul Gauguin and showed his interest in primitive  art. He began exhibiting his work in the galleries of Berthe Weill  and Ambroise Vollard , quickly gaining a growing reputation and a following amongst the artistic communities of Montmartre and Montparnasse.Gertrude Stein began acquiring Picasso's drawings and paintings and exhibiting them in her informal Salon at her home in Paris. At one of her gatherings in 1905 he met Henri Matisse , who was to become in those days his chief rival, although in later years a close friend. The Steins introduced Picasso to Claribel Cone , and her sister Etta Cone , also American art collectors, who began to acquire Picasso and Matisse's paintings. Eventually Leo Stein moved to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso.

Prompt: アビニヨンの娘たちに関して、どのように背景と開発が議論されていますか？英語で出力して下さい。

Ambroise Vollard
Barcelona
Berthe Weill
Boy Leading a Horse
El Greco
Family of Saltimbanques
Paul Gauguin
Gertrude Stein
Gustave Courbet
Henri Matisse
Leo Stein
Édouard Manet


section

アビニヨンの娘たち

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" , contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau , an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair —they also attracted some favorable attention.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins  an increasingly important theme in Paris at this time.From October 1906 when he began preparatory work for , until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler . Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting . Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,Kramer goes on to say,

Prompt: アビニヨンの娘たちに焦点を当てて、そのマティスとの競争を説明してください。英語で出力して下さい。

André Derain
Camille Mauclair
Daniel-Henry Kahnweiler
Donatello
Fauvism
Georges Braque
Henri Matisse
Henri Rousseau
Hilton Kramer
Louis Vauxcelles


section

アビニヨンの娘たち

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" , contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau , an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair —they also attracted some favorable attention.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins  an increasingly important theme in Paris at this time.From October 1906 when he began preparatory work for , until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler . Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting . Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,Kramer goes on to say,

Prompt: アビニヨンの娘たちのマティスとの競争を説明してください。英語で出力して下さい。

André Derain
Camille Mauclair
Daniel-Henry Kahnweiler
Donatello
Fauvism
Georges Braque
Henri Matisse
Henri Rousseau
Hilton Kramer
Louis Vauxcelles


section

アビニヨンの娘たち

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" , contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau , an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair —they also attracted some favorable attention.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins  an increasingly important theme in Paris at this time.From October 1906 when he began preparatory work for , until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler . Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting . Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,Kramer goes on to say,

Prompt: アビニヨンの娘たちはどのようにマティスとの競争を説明していますか？英語で出力して下さい。

André Derain
Camille Mauclair
Daniel-Henry Kahnweiler
Donatello
Fauvism
Georges Braque
Henri Matisse
Henri Rousseau
Hilton Kramer
Louis Vauxcelles


section

アビニヨンの娘たち

The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase "Donatello chez les fauves" , contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau , an artist whom Picasso knew and admired and who was not a Fauve, had his large jungle scene The Hungry Lion Throws Itself on the Antelope also hanging near the works by Matisse and which may have had an influence on the particular sarcastic term used in the press. Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.Although the pictures were widely derided—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair —they also attracted some favorable attention.Matisse and Derain shocked the French public again at the March 1907 Société des Artistes Indépendants when Matisse exhibited his painting Blue Nude  and Derain contributed The Bathers. Both paintings evoke ideas of human origins  an increasingly important theme in Paris at this time.From October 1906 when he began preparatory work for , until its completion in March 1907, Picasso was vying with Matisse to be perceived as the leader of Modern painting. Upon its completion the shock and the impact of the painting propelled Picasso into the center of controversy and all but knocked Matisse and Fauvism off the map, virtually ending the movement by the following year. In 1907 Picasso joined the art gallery that had recently been opened in Paris by Daniel-Henry Kahnweiler . Kahnweiler was a German art historian and collector who became one of the premier French art dealers of the 20th century. He became prominent in Paris beginning in 1907 for being among the first champions of Picasso, and especially his painting . Before 1910 Picasso was already being recognized as one of the important leaders of Modern art alongside Henri Matisse, who had been the undisputed leader of Fauvism and who was more than ten years older than he, and his contemporaries the Fauvist André Derain and the former Fauvist and fellow Cubist, Georges Braque.In his 1992 essay Reflections on Matisse, the art critic Hilton Kramer wrote,Kramer goes on to say,

Prompt: アビニヨンの娘たちに関して、どのようにマティスとの競争が議論されていますか？英語で出力して下さい。

André Derain
Camille Mauclair
Daniel-Henry Kahnweiler
Donatello
Fauvism
Georges Braque
Henri Matisse
Henri Rousseau
Hilton Kramer
Louis Vauxcelles