subsection

アンドロス島のバッカス祭

The painting is set on the island of Andros. A sleeping nymph and a urinating boy are seen in the lower right foreground while men and women celebrate with jugs of wine. The absence of Bacchus from the painting is explained by Erwin Panofsky, who suggests that the god must be on the departing ship seen in the center background. Due to the artistic liberties Titian took in painting these figures, it is difficult to identify them.The decorative programme included other major paintings celebrating Bacchus and Venus, the gods of wine and love. Like its predecessor Bacchus and Ariadne, The Bacchanal of the Andrians was inspired by the Imagines of Philostratus.

Prompt: アンドロス島のバッカス祭の歴史における神話の特徴を説明してください。英語で出力して下さい。

Andros
Bacchus and Ariadne
Erwin Panofsky
Philostratus
Titian


subsection

アンドロス島のバッカス祭

In the foreground, to the right there is the sensual nude of a nymph-bacchante with light complexion, an educated citation of the Sleeping Ariadne, with the right elbow raised and the arm bent behind the head, a convention used to represent the sleep. She, wrote Vasari, "is so beautiful to appear alive".A little behind a puer mingens raises up his tunic, "pees in a river and reflects himself in water", as always Vasari described him, while at the center two young girls chatter lying on the ground, enlightened by full light. One of them, without turning, raises up her plate, in which a nude man pours wine from a pitcher. Another man is touching with impunity her ankle, but he's also turning his face to a dancer who seems about to stumble: he cites faithfully a character from the Battle of Cascina of Michelangelo, who is visible below to the right in the copy of Aristotile da Sangallo. In spite of the gesture the man and the woman seem to ignore each other: the strong sense of beauty and joy, even erotic, is never disturbed by vulgar attitudes.To the left an overweight man, who resembles Silenus, is kneeling half-nude and drinks with pleasure from a pitcher, just filled from the wine river, from which also a boy is drawing. In the background, under the shadow of a wood, a servant  and two singers are visible. A little to the right there is the dancers group, in which stand out both a man who is trying to do the juggler by holding a transparent jug full of wine on the tip of his fingers and the couple in full light, the clothes of whom are lighted with shining reflections of matter. The youngster seen from behind is holding an ivy crown, plant sacred to Dionysus, while the other sacred plant, the vine, is visible upward, rooted among the trees fronds. The female dancer wearing a white tunic resembles the woman in red in the center of the scene, who also remind of the presumed mistress of Titian, i.e. the blond woman with curly hair appearing for example also in the two paintings Flora  and Woman with a Mirror. The violets between the hair of the central female figure might be a reference to the name Violante: a tradition states as a matter of fact that Titian's mistress was Palma il Vecchio's daughter, who was exactly called so.

Prompt: アンドロス島のバッカス祭の文脈で、キャラクターと歴史を説明してください。英語で出力して下さい。

Dionysus
Battle of Cascina
Dionysus
Michelangelo
Silenus
Sleeping Ariadne
Titian
Woman with a Mirror


subsection

アンドロス島のバッカス祭

In the foreground, to the right there is the sensual nude of a nymph-bacchante with light complexion, an educated citation of the Sleeping Ariadne, with the right elbow raised and the arm bent behind the head, a convention used to represent the sleep. She, wrote Vasari, "is so beautiful to appear alive".A little behind a puer mingens raises up his tunic, "pees in a river and reflects himself in water", as always Vasari described him, while at the center two young girls chatter lying on the ground, enlightened by full light. One of them, without turning, raises up her plate, in which a nude man pours wine from a pitcher. Another man is touching with impunity her ankle, but he's also turning his face to a dancer who seems about to stumble: he cites faithfully a character from the Battle of Cascina of Michelangelo, who is visible below to the right in the copy of Aristotile da Sangallo. In spite of the gesture the man and the woman seem to ignore each other: the strong sense of beauty and joy, even erotic, is never disturbed by vulgar attitudes.To the left an overweight man, who resembles Silenus, is kneeling half-nude and drinks with pleasure from a pitcher, just filled from the wine river, from which also a boy is drawing. In the background, under the shadow of a wood, a servant  and two singers are visible. A little to the right there is the dancers group, in which stand out both a man who is trying to do the juggler by holding a transparent jug full of wine on the tip of his fingers and the couple in full light, the clothes of whom are lighted with shining reflections of matter. The youngster seen from behind is holding an ivy crown, plant sacred to Dionysus, while the other sacred plant, the vine, is visible upward, rooted among the trees fronds. The female dancer wearing a white tunic resembles the woman in red in the center of the scene, who also remind of the presumed mistress of Titian, i.e. the blond woman with curly hair appearing for example also in the two paintings Flora  and Woman with a Mirror. The violets between the hair of the central female figure might be a reference to the name Violante: a tradition states as a matter of fact that Titian's mistress was Palma il Vecchio's daughter, who was exactly called so.

Prompt: アンドロス島のバッカス祭の歴史に関するキャラクターを説明してください。英語で出力して下さい。

Dionysus
Battle of Cascina
Dionysus
Michelangelo
Silenus
Sleeping Ariadne
Titian
Woman with a Mirror


subsection

アンドロス島のバッカス祭

In the foreground, to the right there is the sensual nude of a nymph-bacchante with light complexion, an educated citation of the Sleeping Ariadne, with the right elbow raised and the arm bent behind the head, a convention used to represent the sleep. She, wrote Vasari, "is so beautiful to appear alive".A little behind a puer mingens raises up his tunic, "pees in a river and reflects himself in water", as always Vasari described him, while at the center two young girls chatter lying on the ground, enlightened by full light. One of them, without turning, raises up her plate, in which a nude man pours wine from a pitcher. Another man is touching with impunity her ankle, but he's also turning his face to a dancer who seems about to stumble: he cites faithfully a character from the Battle of Cascina of Michelangelo, who is visible below to the right in the copy of Aristotile da Sangallo. In spite of the gesture the man and the woman seem to ignore each other: the strong sense of beauty and joy, even erotic, is never disturbed by vulgar attitudes.To the left an overweight man, who resembles Silenus, is kneeling half-nude and drinks with pleasure from a pitcher, just filled from the wine river, from which also a boy is drawing. In the background, under the shadow of a wood, a servant  and two singers are visible. A little to the right there is the dancers group, in which stand out both a man who is trying to do the juggler by holding a transparent jug full of wine on the tip of his fingers and the couple in full light, the clothes of whom are lighted with shining reflections of matter. The youngster seen from behind is holding an ivy crown, plant sacred to Dionysus, while the other sacred plant, the vine, is visible upward, rooted among the trees fronds. The female dancer wearing a white tunic resembles the woman in red in the center of the scene, who also remind of the presumed mistress of Titian, i.e. the blond woman with curly hair appearing for example also in the two paintings Flora  and Woman with a Mirror. The violets between the hair of the central female figure might be a reference to the name Violante: a tradition states as a matter of fact that Titian's mistress was Palma il Vecchio's daughter, who was exactly called so.

Prompt: アンドロス島のバッカス祭では、どのように歴史のキャラクターが説明されていますか？英語で出力して下さい。

Dionysus
Battle of Cascina
Dionysus
Michelangelo
Silenus
Sleeping Ariadne
Titian
Woman with a Mirror


subsection

アンドロス島のバッカス祭

In the foreground, to the right there is the sensual nude of a nymph-bacchante with light complexion, an educated citation of the Sleeping Ariadne, with the right elbow raised and the arm bent behind the head, a convention used to represent the sleep. She, wrote Vasari, "is so beautiful to appear alive".A little behind a puer mingens raises up his tunic, "pees in a river and reflects himself in water", as always Vasari described him, while at the center two young girls chatter lying on the ground, enlightened by full light. One of them, without turning, raises up her plate, in which a nude man pours wine from a pitcher. Another man is touching with impunity her ankle, but he's also turning his face to a dancer who seems about to stumble: he cites faithfully a character from the Battle of Cascina of Michelangelo, who is visible below to the right in the copy of Aristotile da Sangallo. In spite of the gesture the man and the woman seem to ignore each other: the strong sense of beauty and joy, even erotic, is never disturbed by vulgar attitudes.To the left an overweight man, who resembles Silenus, is kneeling half-nude and drinks with pleasure from a pitcher, just filled from the wine river, from which also a boy is drawing. In the background, under the shadow of a wood, a servant  and two singers are visible. A little to the right there is the dancers group, in which stand out both a man who is trying to do the juggler by holding a transparent jug full of wine on the tip of his fingers and the couple in full light, the clothes of whom are lighted with shining reflections of matter. The youngster seen from behind is holding an ivy crown, plant sacred to Dionysus, while the other sacred plant, the vine, is visible upward, rooted among the trees fronds. The female dancer wearing a white tunic resembles the woman in red in the center of the scene, who also remind of the presumed mistress of Titian, i.e. the blond woman with curly hair appearing for example also in the two paintings Flora  and Woman with a Mirror. The violets between the hair of the central female figure might be a reference to the name Violante: a tradition states as a matter of fact that Titian's mistress was Palma il Vecchio's daughter, who was exactly called so.

Prompt: アンドロス島のバッカス祭の歴史におけるキャラクターの特徴を説明してください。英語で出力して下さい。

Dionysus
Battle of Cascina
Dionysus
Michelangelo
Silenus
Sleeping Ariadne
Titian
Woman with a Mirror


subsection

アンドロス島のバッカス祭

The musical score lying in the foreground, suggesting a link between music and Dionysian pleasures, is a whimsical canon in French:The song is attributed to Ferrarese court musician Adrian Willaert. Its presence in the painting hints at the connection between music theory in Ferrara and Titian's musically influenced use of color.In the painting, however, none of the instruments are being played. The only instruments portrayed are the "straight flute". Two are held by the girls in the foreground, and a third is on the ground behind them and near a glass of wine, an overturned metal cup, and a tray of libations.

Prompt: アンドロス島のバッカス祭の文脈で、音楽と歴史を説明してください。英語で出力して下さい。


subsection

アンドロス島のバッカス祭

The musical score lying in the foreground, suggesting a link between music and Dionysian pleasures, is a whimsical canon in French:The song is attributed to Ferrarese court musician Adrian Willaert. Its presence in the painting hints at the connection between music theory in Ferrara and Titian's musically influenced use of color.In the painting, however, none of the instruments are being played. The only instruments portrayed are the "straight flute". Two are held by the girls in the foreground, and a third is on the ground behind them and near a glass of wine, an overturned metal cup, and a tray of libations.

Prompt: アンドロス島のバッカス祭の歴史に関する音楽を説明してください。英語で出力して下さい。


subsection

アンドロス島のバッカス祭

The musical score lying in the foreground, suggesting a link between music and Dionysian pleasures, is a whimsical canon in French:The song is attributed to Ferrarese court musician Adrian Willaert. Its presence in the painting hints at the connection between music theory in Ferrara and Titian's musically influenced use of color.In the painting, however, none of the instruments are being played. The only instruments portrayed are the "straight flute". Two are held by the girls in the foreground, and a third is on the ground behind them and near a glass of wine, an overturned metal cup, and a tray of libations.

Prompt: アンドロス島のバッカス祭では、どのように歴史の音楽が説明されていますか？英語で出力して下さい。


subsection

アンドロス島のバッカス祭

The musical score lying in the foreground, suggesting a link between music and Dionysian pleasures, is a whimsical canon in French:The song is attributed to Ferrarese court musician Adrian Willaert. Its presence in the painting hints at the connection between music theory in Ferrara and Titian's musically influenced use of color.In the painting, however, none of the instruments are being played. The only instruments portrayed are the "straight flute". Two are held by the girls in the foreground, and a third is on the ground behind them and near a glass of wine, an overturned metal cup, and a tray of libations.

Prompt: アンドロス島のバッカス祭の歴史における音楽の特徴を説明してください。英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

</ref> medium=Oil on panel height_metric=75 width_metric=56 city=Dresden museum=Gemäldegalerie Alte Meister}}The Tribute Money  is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Prompt: 貢の銭 (ティツィアーノ)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。

Alfonso I d'Este
Dresden
Ferrara
Gemäldegalerie Alte Meister
Titian


section

貢の銭 (ティツィアーノ)

</ref> medium=Oil on panel height_metric=75 width_metric=56 city=Dresden museum=Gemäldegalerie Alte Meister}}The Tribute Money  is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Prompt: 貢の銭 (ティツィアーノ)の抽象を説明してください。英語で出力して下さい。

Alfonso I d'Este
Dresden
Ferrara
Gemäldegalerie Alte Meister
Titian


section

貢の銭 (ティツィアーノ)

</ref> medium=Oil on panel height_metric=75 width_metric=56 city=Dresden museum=Gemäldegalerie Alte Meister}}The Tribute Money  is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Prompt: 貢の銭 (ティツィアーノ)はどのように抽象を説明していますか？英語で出力して下さい。

Alfonso I d'Este
Dresden
Ferrara
Gemäldegalerie Alte Meister
Titian


section

貢の銭 (ティツィアーノ)

</ref> medium=Oil on panel height_metric=75 width_metric=56 city=Dresden museum=Gemäldegalerie Alte Meister}}The Tribute Money  is a panel painting in oils of 1516 by the Italian late Renaissance artist Titian, now in the Gemäldegalerie Alte Meister in Dresden, Germany.  It depicts Christ and a Pharisee at the moment in the Gospels when Christ is shown a coin and says "Render unto Caesar the things that are Caesar's, and unto God the things that are God's".  It is signed "Ticianus F.[ecit]", painted on the trim of the left side of the Pharisee's collar.It is possibly the earliest representation in art of this scene, which had a personal significance for Alfonso I d'Este, Duke of Ferrara, who commissioned it.

Prompt: 貢の銭 (ティツィアーノ)に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Alfonso I d'Este
Dresden
Ferrara
Gemäldegalerie Alte Meister
Titian


section

貢の銭 (ティツィアーノ)

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara .  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Prompt: 貢の銭 (ティツィアーノ)に焦点を当てて、その件名と目的を説明してください。英語で出力して下さい。

Alfonso I d'Este
Duchy of Ferrara
Ferrara
Holy Roman Empire
Papal States
Titian
War of the League of Cambrai


section

貢の銭 (ティツィアーノ)

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara .  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Prompt: 貢の銭 (ティツィアーノ)の件名と目的を説明してください。英語で出力して下さい。

Alfonso I d'Este
Duchy of Ferrara
Ferrara
Holy Roman Empire
Papal States
Titian
War of the League of Cambrai


section

貢の銭 (ティツィアーノ)

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara .  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Prompt: 貢の銭 (ティツィアーノ)はどのように件名と目的を説明していますか？英語で出力して下さい。

Alfonso I d'Este
Duchy of Ferrara
Ferrara
Holy Roman Empire
Papal States
Titian
War of the League of Cambrai


section

貢の銭 (ティツィアーノ)

The subject is rare in art, and some authorities have said that this is its first representation in art.  The novelty is explained by the special significance of the subject for the patron, who is presumed to have suggested it.  With one level of appropriateness, it was created for the door of a cupboard or cabinet containing the collection of medals and ancient and modern coins of Alfonso I d'Este, Duke of Ferrara.  In the following years the duke became a very important patron of Titian, partly because he was impressed by this first commission.At another level, the story had a political relevance.  Duke Alfonzo's territories were partly in the Holy Roman Empire, and partly in the Papal States, giving the subject a particular meaning to him; the trap set for Christ by the question was one that Alfonso had been living in for some years.  At the time the painting was produced he had been excommunicated and deprived, at least in theory, of some of his territories by the papacy, after not following the papacy when it changed sides in the War of the League of Cambrai.  For most of this period he was opposed to the papacy, which had been aggressively expanding the Papal States, and wanted to absorb the Duchy of Ferrara .  For Alfonso the message of the injunction of Christ in the "Tribute Money" episode was probably that the papacy should concentrate its attention on church matters, as opposed to expanding its territory.  He included part of the gospel text of the episode on his gold coinage.

Prompt: 貢の銭 (ティツィアーノ)に関して、どのように件名と目的が議論されていますか？英語で出力して下さい。

Alfonso I d'Este
Duchy of Ferrara
Ferrara
Holy Roman Empire
Papal States
Titian
War of the League of Cambrai


section

貢の銭 (ティツィアーノ)

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait , with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Prompt: 貢の銭 (ティツィアーノ)に焦点を当てて、その日付と署名を説明してください。英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait , with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Prompt: 貢の銭 (ティツィアーノ)の日付と署名を説明してください。英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait , with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Prompt: 貢の銭 (ティツィアーノ)はどのように日付と署名を説明していますか？英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

Unusually for an early Titian, the painting can be dated with confidence, as Titian and two assistants or servants spent some five weeks staying at Alfonso's Castello Estense in Ferrara from 22 February 1516 until the end of March.  Titian normally painted on canvas, but the original use of the painting as a door necessitated the panel support here.It is Titian's earliest signed painting, and was perhaps signed to show he was not a court painter, as well as advertising his name in a prominent court outside Venice and its territories. The location of the signature on the pharisee's collar may support it being a self-portrait , with the signature "identifying the subject like the inscription below the profile portrait on a coin".

Prompt: 貢の銭 (ティツィアーノ)に関して、どのように日付と署名が議論されていますか？英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject , perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Prompt: 貢の銭 (ティツィアーノ)に焦点を当てて、その受付、後の構成を説明してください。英語で出力して下さい。

Albrecht Dürer
Carlo Ridolfi
Ferrara
Giorgio Vasari
Philip II of Spain
Titian


section

貢の銭 (ティツィアーノ)

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject , perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Prompt: 貢の銭 (ティツィアーノ)の受付、後の構成を説明してください。英語で出力して下さい。

Albrecht Dürer
Carlo Ridolfi
Ferrara
Giorgio Vasari
Philip II of Spain
Titian


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貢の銭 (ティツィアーノ)

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject , perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Prompt: 貢の銭 (ティツィアーノ)はどのように受付、後の構成を説明していますか？英語で出力して下さい。

Albrecht Dürer
Carlo Ridolfi
Ferrara
Giorgio Vasari
Philip II of Spain
Titian


section

貢の銭 (ティツィアーノ)

The painting, which has been described as "Titian's sleekest, most polished early work", became famous. Giorgio Vasari thought the head of Christ "stupendous and miraculous" and that all artists at the time believed it to be Titian's most perfect painting. Carlo Ridolfi's biography relates that when he saw it, an envoy of the Emperor Charles V expressed surprise that any artist could compete with Albrecht Dürer so well.   Much later Titian painted a larger composition of the subject , perhaps to meet a demand for replicas.  This was perhaps begun around 1543, but not completed until the 1560s; it was sent to Philip II of Spain in 1568. X-radiographs reveal that the gold coin in it was originally inscribed with "Ferrara".

Prompt: 貢の銭 (ティツィアーノ)に関して、どのように受付、後の構成が議論されていますか？英語で出力して下さい。

Albrecht Dürer
Carlo Ridolfi
Ferrara
Giorgio Vasari
Philip II of Spain
Titian


section

貢の銭 (ティツィアーノ)

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome , which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers .

Prompt: 貢の銭 (ティツィアーノ)に焦点を当てて、その文脈を説明してください。英語で出力して下さい。

Giorgione
John the Baptist
Lucretia and her Husband
Titian


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貢の銭 (ティツィアーノ)

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome , which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers .

Prompt: 貢の銭 (ティツィアーノ)の文脈を説明してください。英語で出力して下さい。

Giorgione
John the Baptist
Lucretia and her Husband
Titian


section

貢の銭 (ティツィアーノ)

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome , which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers .

Prompt: 貢の銭 (ティツィアーノ)はどのように文脈を説明していますか？英語で出力して下さい。

Giorgione
John the Baptist
Lucretia and her Husband
Titian


section

貢の銭 (ティツィアーノ)

The figure of the pharisee has been claimed as a self-portrait by Titian, who was in his late twenties at the time.  The same claim has been made for several figures painted in narrative scenes by Titian, notably, and perhaps more convincingly, the severed head of John the Baptist in his Salome , which is very close in date to this painting, and where the head does not much resemble the one here.  Both paintings are examples of narrative subjects drawing on Titian's skill as a portraitist, as well as forming part of a number of paintings using the Giorgionesque type of composition showing two or three tightly cropped half-length figures with their faces close together, heightening the drama of their interaction.  Other examples of this type are Lucretia and her Husband and The Bravo, both now in Vienna, and The Lovers .

Prompt: 貢の銭 (ティツィアーノ)に関して、どのように文脈が議論されていますか？英語で出力して下さい。

Giorgione
John the Baptist
Lucretia and her Husband
Titian


section

貢の銭 (ティツィアーノ)

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Prompt: 貢の銭 (ティツィアーノ)に焦点を当てて、その起源を説明してください。英語で出力して下さい。

Dresden
Gemäldegalerie Alte Meister
Pavel Korin
Red Army


section

貢の銭 (ティツィアーノ)

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Prompt: 貢の銭 (ティツィアーノ)の起源を説明してください。英語で出力して下さい。

Dresden
Gemäldegalerie Alte Meister
Pavel Korin
Red Army


section

貢の銭 (ティツィアーノ)

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Prompt: 貢の銭 (ティツィアーノ)はどのように起源を説明していますか？英語で出力して下さい。

Dresden
Gemäldegalerie Alte Meister
Pavel Korin
Red Army


section

貢の銭 (ティツィアーノ)

The painting is part of the permanent collection of Gemäldegalerie Alte Meister in Dresden, Germany in the first floor.  After WWII among many masterpieces of the gallery, it was taken by the Red Army to the Pushkin Museum in Moscow. The painting was badly damaged by water and was painstakingly restored by Russian painter Pavel Korin. Together with many others, in 1955 the painting was returned to Dresden, then in the DDR.

Prompt: 貢の銭 (ティツィアーノ)に関して、どのように起源が議論されていますか？英語で出力して下さい。

Dresden
Gemäldegalerie Alte Meister
Pavel Korin
Red Army


section

貢の銭 (ティツィアーノ)

The painting is referred to in George Eliot, Daniel Deronda , when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Prompt: 貢の銭 (ティツィアーノ)に焦点を当てて、その文学でを説明してください。英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

The painting is referred to in George Eliot, Daniel Deronda , when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Prompt: 貢の銭 (ティツィアーノ)の文学でを説明してください。英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

The painting is referred to in George Eliot, Daniel Deronda , when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Prompt: 貢の銭 (ティツィアーノ)はどのように文学でを説明していますか？英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

The painting is referred to in George Eliot, Daniel Deronda , when the young and vigorous Deronda meets the ill and prematurely aged Jewish scholar Mordecai: "I wish I could perpetuate those two faces", Eliot writes, "as Titian's 'Tribute Money' has perpetuated two types presenting another sort of contrast."

Prompt: 貢の銭 (ティツィアーノ)に関して、どのように文学でが議論されていますか？英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

List of works by TitianThe Tribute Money  – showing a different episode.

Prompt: 貢の銭 (ティツィアーノ)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

貢の銭 (ティツィアーノ)

List of works by TitianThe Tribute Money  – showing a different episode.

Prompt: 貢の銭 (ティツィアーノ)の参照を説明してください。英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

List of works by TitianThe Tribute Money  – showing a different episode.

Prompt: 貢の銭 (ティツィアーノ)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

貢の銭 (ティツィアーノ)

List of works by TitianThe Tribute Money  – showing a different episode.

Prompt: 貢の銭 (ティツィアーノ)に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

貢の銭 (ティツィアーノ)

Goffen, Rona, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian, 2004, Yale University Press, Hale, Sheila, Titian, His Life, 2012, Harper Press, Jaffé, David , Titian, The National Gallery Company/Yale, London 2003, Penny, Nicholas,  National Gallery Catalogues : The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, Schiller, Gertud, Iconography of Christian Art, Vol. I, 1971 , Lund Humphries, London, Josephine Klingebeil, Tizians Zinsgroschen für Alfonso d'Este: Die Dimensionen eines Ölgemäldes aus dem 16. Jahrhundert, Hambrug 2014.Christopher J. Nygren, Vibrant icons: Titian's art and the tradition of Christian image-making, Dissertationsschrift Johns Hopkins University, Baltimore 2011Christopher J. Nygren, "Titian’s Christ with the Coin: Recovering the Spiritual Currency of Numismatics in Renaissance Ferrara", in: Renaissance Quarterly, Vol. 69, No. 2 , pp. 449–488.

Prompt: 貢の銭 (ティツィアーノ)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。

Ferrara
National Gallery
Titian
Yale University Press


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貢の銭 (ティツィアーノ)

Goffen, Rona, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian, 2004, Yale University Press, Hale, Sheila, Titian, His Life, 2012, Harper Press, Jaffé, David , Titian, The National Gallery Company/Yale, London 2003, Penny, Nicholas,  National Gallery Catalogues : The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, Schiller, Gertud, Iconography of Christian Art, Vol. I, 1971 , Lund Humphries, London, Josephine Klingebeil, Tizians Zinsgroschen für Alfonso d'Este: Die Dimensionen eines Ölgemäldes aus dem 16. Jahrhundert, Hambrug 2014.Christopher J. Nygren, Vibrant icons: Titian's art and the tradition of Christian image-making, Dissertationsschrift Johns Hopkins University, Baltimore 2011Christopher J. Nygren, "Titian’s Christ with the Coin: Recovering the Spiritual Currency of Numismatics in Renaissance Ferrara", in: Renaissance Quarterly, Vol. 69, No. 2 , pp. 449–488.

Prompt: 貢の銭 (ティツィアーノ)の参考文献を説明してください。英語で出力して下さい。

Ferrara
National Gallery
Titian
Yale University Press


section

貢の銭 (ティツィアーノ)

Goffen, Rona, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian, 2004, Yale University Press, Hale, Sheila, Titian, His Life, 2012, Harper Press, Jaffé, David , Titian, The National Gallery Company/Yale, London 2003, Penny, Nicholas,  National Gallery Catalogues : The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, Schiller, Gertud, Iconography of Christian Art, Vol. I, 1971 , Lund Humphries, London, Josephine Klingebeil, Tizians Zinsgroschen für Alfonso d'Este: Die Dimensionen eines Ölgemäldes aus dem 16. Jahrhundert, Hambrug 2014.Christopher J. Nygren, Vibrant icons: Titian's art and the tradition of Christian image-making, Dissertationsschrift Johns Hopkins University, Baltimore 2011Christopher J. Nygren, "Titian’s Christ with the Coin: Recovering the Spiritual Currency of Numismatics in Renaissance Ferrara", in: Renaissance Quarterly, Vol. 69, No. 2 , pp. 449–488.

Prompt: 貢の銭 (ティツィアーノ)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。

Ferrara
National Gallery
Titian
Yale University Press


section

貢の銭 (ティツィアーノ)

Goffen, Rona, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian, 2004, Yale University Press, Hale, Sheila, Titian, His Life, 2012, Harper Press, Jaffé, David , Titian, The National Gallery Company/Yale, London 2003, Penny, Nicholas,  National Gallery Catalogues : The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, Schiller, Gertud, Iconography of Christian Art, Vol. I, 1971 , Lund Humphries, London, Josephine Klingebeil, Tizians Zinsgroschen für Alfonso d'Este: Die Dimensionen eines Ölgemäldes aus dem 16. Jahrhundert, Hambrug 2014.Christopher J. Nygren, Vibrant icons: Titian's art and the tradition of Christian image-making, Dissertationsschrift Johns Hopkins University, Baltimore 2011Christopher J. Nygren, "Titian’s Christ with the Coin: Recovering the Spiritual Currency of Numismatics in Renaissance Ferrara", in: Renaissance Quarterly, Vol. 69, No. 2 , pp. 449–488.

Prompt: 貢の銭 (ティツィアーノ)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。

Ferrara
National Gallery
Titian
Yale University Press


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ノリ・メ・タンゲレ

</ref>  medium=oil on canvas  height_metric=110.5  width_metric=91.9  museum=National Gallery  city=London}}Noli me tangere  is a c. 1514 painting by Titian of the Noli me tangere episode in St John's Gospel. The painting, depicting Jesus and Mary Magdalene soon after the resurrection, is in oil on canvas and since the nineteenth century has been in the collection of the National Gallery in London.

Prompt: ノリ・メ・タンゲレに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Jesus
London
Mary Magdalene
National Gallery
Noli me tangere
Titian


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ノリ・メ・タンゲレ

</ref>  medium=oil on canvas  height_metric=110.5  width_metric=91.9  museum=National Gallery  city=London}}Noli me tangere  is a c. 1514 painting by Titian of the Noli me tangere episode in St John's Gospel. The painting, depicting Jesus and Mary Magdalene soon after the resurrection, is in oil on canvas and since the nineteenth century has been in the collection of the National Gallery in London.

Prompt: ノリ・メ・タンゲレの抽象を説明してください。英語で出力して下さい。

Jesus
London
Mary Magdalene
National Gallery
Noli me tangere
Titian


section

ノリ・メ・タンゲレ

</ref>  medium=oil on canvas  height_metric=110.5  width_metric=91.9  museum=National Gallery  city=London}}Noli me tangere  is a c. 1514 painting by Titian of the Noli me tangere episode in St John's Gospel. The painting, depicting Jesus and Mary Magdalene soon after the resurrection, is in oil on canvas and since the nineteenth century has been in the collection of the National Gallery in London.

Prompt: ノリ・メ・タンゲレ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。

Jesus
London
Mary Magdalene
National Gallery
Noli me tangere
Titian


section

ノリ・メ・タンゲレ

</ref>  medium=oil on canvas  height_metric=110.5  width_metric=91.9  museum=National Gallery  city=London}}Noli me tangere  is a c. 1514 painting by Titian of the Noli me tangere episode in St John's Gospel. The painting, depicting Jesus and Mary Magdalene soon after the resurrection, is in oil on canvas and since the nineteenth century has been in the collection of the National Gallery in London.

Prompt: ノリ・メ・タンゲレに関して、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。

Jesus
London
Mary Magdalene
National Gallery
Noli me tangere
Titian


section

ノリ・メ・タンゲレ

Prompt: ノリ・メ・タンゲレに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ノリ・メ・タンゲレ

Prompt: ノリ・メ・タンゲレの参照を説明してください。英語で出力して下さい。


section

ノリ・メ・タンゲレ

Prompt: ノリ・メ・タンゲレ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

ノリ・メ・タンゲレ

Prompt: ノリ・メ・タンゲレに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

ノリ・メ・タンゲレ

Category:1514 paintingsCategory:Paintings by Titian in the National Gallery, LondonTitian

Prompt: ノリ・メ・タンゲレに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


section

ノリ・メ・タンゲレ

Category:1514 paintingsCategory:Paintings by Titian in the National Gallery, LondonTitian

Prompt: ノリ・メ・タンゲレの外部リンクを説明してください。英語で出力して下さい。


section

ノリ・メ・タンゲレ

Category:1514 paintingsCategory:Paintings by Titian in the National Gallery, LondonTitian

Prompt: ノリ・メ・タンゲレはどのように外部リンクを説明していますか？英語で出力して下さい。


section

ノリ・メ・タンゲレ

Category:1514 paintingsCategory:Paintings by Titian in the National Gallery, LondonTitian

Prompt: ノリ・メ・タンゲレに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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キューピッドに目隠しをするヴィーナス

Venus Blindfolding Cupid is a c.1565 painting by Titian, now in the Galleria Borghese in Rome.The painting has been copied many times.This painting was formerly in the collection of Cornelis van der Geest and can be seen in two paintings of his art gallery in the 1630s by Willem van Haecht.

Prompt: キューピッドに目隠しをするヴィーナスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Cornelis van der Geest
Galleria Borghese
Rome
Titian
Willem van Haecht


section

キューピッドに目隠しをするヴィーナス

Venus Blindfolding Cupid is a c.1565 painting by Titian, now in the Galleria Borghese in Rome.The painting has been copied many times.This painting was formerly in the collection of Cornelis van der Geest and can be seen in two paintings of his art gallery in the 1630s by Willem van Haecht.

Prompt: キューピッドに目隠しをするヴィーナスの抽象を説明してください。英語で出力して下さい。

Cornelis van der Geest
Galleria Borghese
Rome
Titian
Willem van Haecht


section

キューピッドに目隠しをするヴィーナス

Venus Blindfolding Cupid is a c.1565 painting by Titian, now in the Galleria Borghese in Rome.The painting has been copied many times.This painting was formerly in the collection of Cornelis van der Geest and can be seen in two paintings of his art gallery in the 1630s by Willem van Haecht.

Prompt: キューピッドに目隠しをするヴィーナスはどのように抽象を説明していますか？英語で出力して下さい。

Cornelis van der Geest
Galleria Borghese
Rome
Titian
Willem van Haecht


section

キューピッドに目隠しをするヴィーナス

Venus Blindfolding Cupid is a c.1565 painting by Titian, now in the Galleria Borghese in Rome.The painting has been copied many times.This painting was formerly in the collection of Cornelis van der Geest and can be seen in two paintings of his art gallery in the 1630s by Willem van Haecht.

Prompt: キューピッドに目隠しをするヴィーナスに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Cornelis van der Geest
Galleria Borghese
Rome
Titian
Willem van Haecht


section

キューピッドに目隠しをするヴィーナス

List of works by TitianCategory:1565 paintingsCategory:Mythological paintings by TitianCategory:Paintings in the Borghese CollectionCategory:Paintings of VenusCategory:Paintings of Cupid

Prompt: キューピッドに目隠しをするヴィーナスに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

キューピッドに目隠しをするヴィーナス

List of works by TitianCategory:1565 paintingsCategory:Mythological paintings by TitianCategory:Paintings in the Borghese CollectionCategory:Paintings of VenusCategory:Paintings of Cupid

Prompt: キューピッドに目隠しをするヴィーナスの参照を説明してください。英語で出力して下さい。


section

キューピッドに目隠しをするヴィーナス

List of works by TitianCategory:1565 paintingsCategory:Mythological paintings by TitianCategory:Paintings in the Borghese CollectionCategory:Paintings of VenusCategory:Paintings of Cupid

Prompt: キューピッドに目隠しをするヴィーナスはどのように参照を説明していますか？英語で出力して下さい。


section

キューピッドに目隠しをするヴィーナス

List of works by TitianCategory:1565 paintingsCategory:Mythological paintings by TitianCategory:Paintings in the Borghese CollectionCategory:Paintings of VenusCategory:Paintings of Cupid

Prompt: キューピッドに目隠しをするヴィーナスに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

取り持ち女

city = Dresden movement = Dutch Golden Age painting}}The Procuress  is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the  in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated . In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room". The woman in black, the leering coupler, "in a nun's costume", could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves", has been identified as a self portrait of the artist; there is a resemblance with the painter in Vermeer's The Art of Painting.It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress  by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home. Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".The jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves. The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock, this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family and does not represent a didactic message. Binstock says Vermeer used his family as models; the procuress could be Vermeer's wife Catherina and the lewd soldier her brother Willem.

Prompt: 取り持ち女に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Dirck van Baburen
Dresden
Gerard ter Borch
Johannes Vermeer
Maria Thins
The Art of Painting
Uşak


section

取り持ち女

city = Dresden movement = Dutch Golden Age painting}}The Procuress  is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the  in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated . In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room". The woman in black, the leering coupler, "in a nun's costume", could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves", has been identified as a self portrait of the artist; there is a resemblance with the painter in Vermeer's The Art of Painting.It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress  by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home. Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".The jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves. The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock, this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family and does not represent a didactic message. Binstock says Vermeer used his family as models; the procuress could be Vermeer's wife Catherina and the lewd soldier her brother Willem.

Prompt: 取り持ち女の抽象を説明してください。英語で出力して下さい。

Dirck van Baburen
Dresden
Gerard ter Borch
Johannes Vermeer
Maria Thins
The Art of Painting
Uşak


section

取り持ち女

city = Dresden movement = Dutch Golden Age painting}}The Procuress  is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the  in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated . In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room". The woman in black, the leering coupler, "in a nun's costume", could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves", has been identified as a self portrait of the artist; there is a resemblance with the painter in Vermeer's The Art of Painting.It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress  by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home. Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".The jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves. The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock, this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family and does not represent a didactic message. Binstock says Vermeer used his family as models; the procuress could be Vermeer's wife Catherina and the lewd soldier her brother Willem.

Prompt: 取り持ち女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。

Dirck van Baburen
Dresden
Gerard ter Borch
Johannes Vermeer
Maria Thins
The Art of Painting
Uşak


section

取り持ち女

city = Dresden movement = Dutch Golden Age painting}}The Procuress  is a 1656 oil-on-canvas painting by the then 24-year-old Johannes Vermeer. It can be seen in the  in Dresden. It is his first genre painting and shows a scene of contemporary life, an image of mercenary love perhaps in a brothel. It differs from his earlier biblical and mythological scenes. It is one of only three paintings Vermeer signed and dated . In 1696 the painting, being sold on an auction in Amsterdam, was named "A merry company in a room". The woman in black, the leering coupler, "in a nun's costume", could be the eponymous procuress, while the man to her right, "wearing a black beret and a doublet with slashed sleeves", has been identified as a self portrait of the artist; there is a resemblance with the painter in Vermeer's The Art of Painting.It seems Vermeer was influenced by earlier works on the same subject by Gerard ter Borch, and The Procuress  by Dirck van Baburen, which was owned by Vermeer's mother-in-law Maria Thins and hung in her home. Some critics thought the painting is atypical of Vermeer's style and expression, because it lacks the typical light. Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression. Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time".The jug on the oriental rug is a piece of Westerwald Pottery. The kelim thrown over a bannister, probably produced in Uşak, covers a third of the painting and shows medallions and leaves. The instrument is probably a cittern. The dark coat with five buttons was added by Vermeer in a later stage. The man in the red jacket, a soldier, is fondling the young woman's breast and dropping a coin into her outstretched hand. According to Benjamin Binstock, this "dark and gloomy" painting could be understood as a psychological portrait of his adopted family and does not represent a didactic message. Binstock says Vermeer used his family as models; the procuress could be Vermeer's wife Catherina and the lewd soldier her brother Willem.

Prompt: 取り持ち女に関して、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。

Dirck van Baburen
Dresden
Gerard ter Borch
Johannes Vermeer
Maria Thins
The Art of Painting
Uşak


section

取り持ち女

The painting was in the Waldstein collection in Dux , then bought in 1741 for August III of Poland, the Elector of Saxony.The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.

Prompt: 取り持ち女に焦点を当てて、その来歴と展示会を説明してください。英語で出力して下さい。

Bakelite
Dirck van Baburen
Han van Meegeren
Staatliche Museen zu Berlin


section

取り持ち女

The painting was in the Waldstein collection in Dux , then bought in 1741 for August III of Poland, the Elector of Saxony.The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.

Prompt: 取り持ち女の来歴と展示会を説明してください。英語で出力して下さい。

Bakelite
Dirck van Baburen
Han van Meegeren
Staatliche Museen zu Berlin


section

取り持ち女

The painting was in the Waldstein collection in Dux , then bought in 1741 for August III of Poland, the Elector of Saxony.The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.

Prompt: 取り持ち女はどのように来歴と展示会を説明していますか？英語で出力して下さい。

Bakelite
Dirck van Baburen
Han van Meegeren
Staatliche Museen zu Berlin


section

取り持ち女

The painting was in the Waldstein collection in Dux , then bought in 1741 for August III of Poland, the Elector of Saxony.The painting was exhibited in 1980 at the Restaurierte Kunstwerke in der Deutschen Demokratischen Republic exhibit in the Staatliche Museen zu Berlin, Altes Museum.This painting should not be confused with another painting by the same name, by Dirck van Baburen, nor with a fake version once attributed to Vermeer, of which technical analysis in 2011 revealed that there is Bakelite in the paint, definitively proving that the painting is a modern forgery. It was most probably executed by the notorious forger, Han van Meegeren, who was responsible for producing several fake Vermeers and known to use said resin to harden the paint.

Prompt: 取り持ち女に関して、どのように来歴と展示会が議論されていますか？英語で出力して下さい。

Bakelite
Dirck van Baburen
Han van Meegeren
Staatliche Museen zu Berlin


section

取り持ち女

The technical investigation of this painting was done in 1968 by Hermann Kühn. The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.

Prompt: 取り持ち女に焦点を当てて、その絵画材料を説明してください。英語で出力して下さい。


section

取り持ち女

The technical investigation of this painting was done in 1968 by Hermann Kühn. The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.

Prompt: 取り持ち女の絵画材料を説明してください。英語で出力して下さい。


section

取り持ち女

The technical investigation of this painting was done in 1968 by Hermann Kühn. The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.

Prompt: 取り持ち女はどのように絵画材料を説明していますか？英語で出力して下さい。


section

取り持ち女

The technical investigation of this painting was done in 1968 by Hermann Kühn. The pigment analysis revealed Vermeer's use of his usual pigments such as ultramarine in the blue wine jug and lead-tin-yellow in the jacket of the woman. He also employed smalt in the green parts of the tablecloth and in the greenish background which is less usual for him.

Prompt: 取り持ち女に関して、どのように絵画材料が議論されていますか？英語で出力して下さい。


section

取り持ち女

Prompt: 取り持ち女に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Johannes Vermeer
List of paintings by Johannes Vermeer


section

取り持ち女

Prompt: 取り持ち女の参照を説明してください。英語で出力して下さい。

Johannes Vermeer
List of paintings by Johannes Vermeer


section

取り持ち女

Prompt: 取り持ち女はどのように参照を説明していますか？英語で出力して下さい。

Johannes Vermeer
List of paintings by Johannes Vermeer


section

取り持ち女

Prompt: 取り持ち女に関して、どのように参照が議論されていますか？英語で出力して下さい。

Johannes Vermeer
List of paintings by Johannes Vermeer


section

取り持ち女

Wheelock, Arthur K., Jr., Johannes Vermeer, 1995, New Haven: Yale University Press,

Prompt: 取り持ち女に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

取り持ち女

Wheelock, Arthur K., Jr., Johannes Vermeer, 1995, New Haven: Yale University Press,

Prompt: 取り持ち女のさらなる読書を説明してください。英語で出力して下さい。


section

取り持ち女

Wheelock, Arthur K., Jr., Johannes Vermeer, 1995, New Haven: Yale University Press,

Prompt: 取り持ち女はどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

取り持ち女

Wheelock, Arthur K., Jr., Johannes Vermeer, 1995, New Haven: Yale University Press,

Prompt: 取り持ち女に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The Portrait of Bernhart von Reesen is a portrait painting by German Renaissance master Albrecht Dürer.  It depicts a man wearing a beret and holding a piece of paper against a red background.  The oil on panel painting is dated 1521 and is in the collection of the Gemäldegalerie Alte Meister of Dresden, Germany.

Prompt: ベルンハルト・フォン・レーゼンの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The Portrait of Bernhart von Reesen is a portrait painting by German Renaissance master Albrecht Dürer.  It depicts a man wearing a beret and holding a piece of paper against a red background.  The oil on panel painting is dated 1521 and is in the collection of the Gemäldegalerie Alte Meister of Dresden, Germany.

Prompt: ベルンハルト・フォン・レーゼンの肖像の抽象を説明してください。英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The Portrait of Bernhart von Reesen is a portrait painting by German Renaissance master Albrecht Dürer.  It depicts a man wearing a beret and holding a piece of paper against a red background.  The oil on panel painting is dated 1521 and is in the collection of the Gemäldegalerie Alte Meister of Dresden, Germany.

Prompt: ベルンハルト・フォン・レーゼンの肖像はどのように抽象を説明していますか？英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The Portrait of Bernhart von Reesen is a portrait painting by German Renaissance master Albrecht Dürer.  It depicts a man wearing a beret and holding a piece of paper against a red background.  The oil on panel painting is dated 1521 and is in the collection of the Gemäldegalerie Alte Meister of Dresden, Germany.

Prompt: ベルンハルト・フォン・レーゼンの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The painting was executed during the artist's trip to the Low Countries in the period 1520–1521. On 16 March 1521, Dürer wrote in his diary that he had portrayed in Antwerp one Bernhart von Reesen, for which he was paid eight florins and some small gifts for his wife and maid.The sitter is portrayed wearing black garments and a white shirt. His hands, which, according to the Flemish painting tradition, are cut off on the lower border, hold a small piece of paper with writing on it.

Prompt: ベルンハルト・フォン・レーゼンの肖像に焦点を当てて、その背景、詳細を説明してください。英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The painting was executed during the artist's trip to the Low Countries in the period 1520–1521. On 16 March 1521, Dürer wrote in his diary that he had portrayed in Antwerp one Bernhart von Reesen, for which he was paid eight florins and some small gifts for his wife and maid.The sitter is portrayed wearing black garments and a white shirt. His hands, which, according to the Flemish painting tradition, are cut off on the lower border, hold a small piece of paper with writing on it.

Prompt: ベルンハルト・フォン・レーゼンの肖像の背景、詳細を説明してください。英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The painting was executed during the artist's trip to the Low Countries in the period 1520–1521. On 16 March 1521, Dürer wrote in his diary that he had portrayed in Antwerp one Bernhart von Reesen, for which he was paid eight florins and some small gifts for his wife and maid.The sitter is portrayed wearing black garments and a white shirt. His hands, which, according to the Flemish painting tradition, are cut off on the lower border, hold a small piece of paper with writing on it.

Prompt: ベルンハルト・フォン・レーゼンの肖像はどのように背景、詳細を説明していますか？英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The painting was executed during the artist's trip to the Low Countries in the period 1520–1521. On 16 March 1521, Dürer wrote in his diary that he had portrayed in Antwerp one Bernhart von Reesen, for which he was paid eight florins and some small gifts for his wife and maid.The sitter is portrayed wearing black garments and a white shirt. His hands, which, according to the Flemish painting tradition, are cut off on the lower border, hold a small piece of paper with writing on it.

Prompt: ベルンハルト・フォン・レーゼンの肖像に関して、どのように背景、詳細が議論されていますか？英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The sitter for the portrait has been identified on the basis of the letter he is holding in his hands and the entry in Dürer's diary.  Although the writing is hard to make out, it has been determined that the man should be identified with Bernhard von Reesen. Von Reesen was a successful merchant from Gdańsk who was living in Antwerp at the time. He was thirty years old when the portrait was painted.  He died the same year.

Prompt: ベルンハルト・フォン・レーゼンの肖像に焦点を当てて、その座っている人の識別を説明してください。英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The sitter for the portrait has been identified on the basis of the letter he is holding in his hands and the entry in Dürer's diary.  Although the writing is hard to make out, it has been determined that the man should be identified with Bernhard von Reesen. Von Reesen was a successful merchant from Gdańsk who was living in Antwerp at the time. He was thirty years old when the portrait was painted.  He died the same year.

Prompt: ベルンハルト・フォン・レーゼンの肖像の座っている人の識別を説明してください。英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The sitter for the portrait has been identified on the basis of the letter he is holding in his hands and the entry in Dürer's diary.  Although the writing is hard to make out, it has been determined that the man should be identified with Bernhard von Reesen. Von Reesen was a successful merchant from Gdańsk who was living in Antwerp at the time. He was thirty years old when the portrait was painted.  He died the same year.

Prompt: ベルンハルト・フォン・レーゼンの肖像はどのように座っている人の識別を説明していますか？英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

The sitter for the portrait has been identified on the basis of the letter he is holding in his hands and the entry in Dürer's diary.  Although the writing is hard to make out, it has been determined that the man should be identified with Bernhard von Reesen. Von Reesen was a successful merchant from Gdańsk who was living in Antwerp at the time. He was thirty years old when the portrait was painted.  He died the same year.

Prompt: ベルンハルト・フォン・レーゼンの肖像に関して、どのように座っている人の識別が議論されていますか？英語で出力して下さい。


section

ベルンハルト・フォン・レーゼンの肖像

Prompt: ベルンハルト・フォン・レーゼンの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

ベルンハルト・フォン・レーゼンの肖像

Prompt: ベルンハルト・フォン・レーゼンの肖像の参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

ベルンハルト・フォン・レーゼンの肖像

Prompt: ベルンハルト・フォン・レーゼンの肖像はどのように参照を説明していますか？英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

ベルンハルト・フォン・レーゼンの肖像

Prompt: ベルンハルト・フォン・レーゼンの肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


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ニッコロ・アルベルガティ枢機卿の肖像

The Portrait of Cardinal Niccolò Albergati is a painting by early Netherlandish painter Jan van Eyck, dating to around 1431 and now in the Kunsthistorisches Museum of Vienna, Austria. Niccolò Albergati was traditionally identified as the subject of the portrait, but modern scholarship suggests that Henry Beaufort is more likely to be its subject. If the portrait is of Henry Beaufort, it would be the earliest realistic portrait of an Englishman.The cardinal is portrayed from three-quarters, as was usual in Flemish painting since as early as the 1430s. The dark background enhances the figure, who is lit by a bright light source. As is common in van Eyck's work, there is very close attention to detail, aided by his use of successive layers of colours diluted with oil, which allowed him deep effects of transparency and lucidity.A preparatory drawing is now in the Staatliche Kunstsammlungen of Dresden, Germany.  Comparison with the drawing shows that van Eyck changed several details, such as the depth of the shoulders, the lower curve of the nose, the depth of the mouth and mainly the size of the ear.

Prompt: ニッコロ・アルベルガティ枢機卿の肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Austria
Dresden
Flemish painting
Henry Beaufort
Jan van Eyck
Kunsthistorisches Museum
Niccolò Albergati
Vienna


section

ニッコロ・アルベルガティ枢機卿の肖像

The Portrait of Cardinal Niccolò Albergati is a painting by early Netherlandish painter Jan van Eyck, dating to around 1431 and now in the Kunsthistorisches Museum of Vienna, Austria. Niccolò Albergati was traditionally identified as the subject of the portrait, but modern scholarship suggests that Henry Beaufort is more likely to be its subject. If the portrait is of Henry Beaufort, it would be the earliest realistic portrait of an Englishman.The cardinal is portrayed from three-quarters, as was usual in Flemish painting since as early as the 1430s. The dark background enhances the figure, who is lit by a bright light source. As is common in van Eyck's work, there is very close attention to detail, aided by his use of successive layers of colours diluted with oil, which allowed him deep effects of transparency and lucidity.A preparatory drawing is now in the Staatliche Kunstsammlungen of Dresden, Germany.  Comparison with the drawing shows that van Eyck changed several details, such as the depth of the shoulders, the lower curve of the nose, the depth of the mouth and mainly the size of the ear.

Prompt: ニッコロ・アルベルガティ枢機卿の肖像の抽象を説明してください。英語で出力して下さい。

Austria
Dresden
Flemish painting
Henry Beaufort
Jan van Eyck
Kunsthistorisches Museum
Niccolò Albergati
Vienna


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ニッコロ・アルベルガティ枢機卿の肖像

The Portrait of Cardinal Niccolò Albergati is a painting by early Netherlandish painter Jan van Eyck, dating to around 1431 and now in the Kunsthistorisches Museum of Vienna, Austria. Niccolò Albergati was traditionally identified as the subject of the portrait, but modern scholarship suggests that Henry Beaufort is more likely to be its subject. If the portrait is of Henry Beaufort, it would be the earliest realistic portrait of an Englishman.The cardinal is portrayed from three-quarters, as was usual in Flemish painting since as early as the 1430s. The dark background enhances the figure, who is lit by a bright light source. As is common in van Eyck's work, there is very close attention to detail, aided by his use of successive layers of colours diluted with oil, which allowed him deep effects of transparency and lucidity.A preparatory drawing is now in the Staatliche Kunstsammlungen of Dresden, Germany.  Comparison with the drawing shows that van Eyck changed several details, such as the depth of the shoulders, the lower curve of the nose, the depth of the mouth and mainly the size of the ear.

Prompt: ニッコロ・アルベルガティ枢機卿の肖像はどのように抽象を説明していますか？英語で出力して下さい。

Austria
Dresden
Flemish painting
Henry Beaufort
Jan van Eyck
Kunsthistorisches Museum
Niccolò Albergati
Vienna


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ニッコロ・アルベルガティ枢機卿の肖像

The Portrait of Cardinal Niccolò Albergati is a painting by early Netherlandish painter Jan van Eyck, dating to around 1431 and now in the Kunsthistorisches Museum of Vienna, Austria. Niccolò Albergati was traditionally identified as the subject of the portrait, but modern scholarship suggests that Henry Beaufort is more likely to be its subject. If the portrait is of Henry Beaufort, it would be the earliest realistic portrait of an Englishman.The cardinal is portrayed from three-quarters, as was usual in Flemish painting since as early as the 1430s. The dark background enhances the figure, who is lit by a bright light source. As is common in van Eyck's work, there is very close attention to detail, aided by his use of successive layers of colours diluted with oil, which allowed him deep effects of transparency and lucidity.A preparatory drawing is now in the Staatliche Kunstsammlungen of Dresden, Germany.  Comparison with the drawing shows that van Eyck changed several details, such as the depth of the shoulders, the lower curve of the nose, the depth of the mouth and mainly the size of the ear.

Prompt: ニッコロ・アルベルガティ枢機卿の肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Austria
Dresden
Flemish painting
Henry Beaufort
Jan van Eyck
Kunsthistorisches Museum
Niccolò Albergati
Vienna


section

ニッコロ・アルベルガティ枢機卿の肖像

Ainsworth, Maryan Wynn. From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art. NY: Metropolitan Museum of Art, 2009.  Borchert, Till-Holger. Van Eyck. London: Taschen, 2008.  Conway, Martin. "A Head of Christ by John van Eyck". The Burlington Magazine for Connoisseurs, Volume 39, No. 225, December 1921 Harbison, Craig. Jan van Eyck, The Play of Realism. London: Reaktion Books, 1991.  Otto Pächt. Van Eyck and the Founders of Early Netherlandish Painting. Harvey Miller, New York, 2000 Schneider, Norbert. Jan van Eyck, the altar of Ghent: proposals for a reform of the church . 21st Century, 1997.

Prompt: ニッコロ・アルベルガティ枢機卿の肖像に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


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ニッコロ・アルベルガティ枢機卿の肖像

Ainsworth, Maryan Wynn. From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art. NY: Metropolitan Museum of Art, 2009.  Borchert, Till-Holger. Van Eyck. London: Taschen, 2008.  Conway, Martin. "A Head of Christ by John van Eyck". The Burlington Magazine for Connoisseurs, Volume 39, No. 225, December 1921 Harbison, Craig. Jan van Eyck, The Play of Realism. London: Reaktion Books, 1991.  Otto Pächt. Van Eyck and the Founders of Early Netherlandish Painting. Harvey Miller, New York, 2000 Schneider, Norbert. Jan van Eyck, the altar of Ghent: proposals for a reform of the church . 21st Century, 1997.

Prompt: ニッコロ・アルベルガティ枢機卿の肖像の情報源を説明してください。英語で出力して下さい。


section

ニッコロ・アルベルガティ枢機卿の肖像

Ainsworth, Maryan Wynn. From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art. NY: Metropolitan Museum of Art, 2009.  Borchert, Till-Holger. Van Eyck. London: Taschen, 2008.  Conway, Martin. "A Head of Christ by John van Eyck". The Burlington Magazine for Connoisseurs, Volume 39, No. 225, December 1921 Harbison, Craig. Jan van Eyck, The Play of Realism. London: Reaktion Books, 1991.  Otto Pächt. Van Eyck and the Founders of Early Netherlandish Painting. Harvey Miller, New York, 2000 Schneider, Norbert. Jan van Eyck, the altar of Ghent: proposals for a reform of the church . 21st Century, 1997.

Prompt: ニッコロ・アルベルガティ枢機卿の肖像はどのように情報源を説明していますか？英語で出力して下さい。


section

ニッコロ・アルベルガティ枢機卿の肖像

Ainsworth, Maryan Wynn. From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art. NY: Metropolitan Museum of Art, 2009.  Borchert, Till-Holger. Van Eyck. London: Taschen, 2008.  Conway, Martin. "A Head of Christ by John van Eyck". The Burlington Magazine for Connoisseurs, Volume 39, No. 225, December 1921 Harbison, Craig. Jan van Eyck, The Play of Realism. London: Reaktion Books, 1991.  Otto Pächt. Van Eyck and the Founders of Early Netherlandish Painting. Harvey Miller, New York, 2000 Schneider, Norbert. Jan van Eyck, the altar of Ghent: proposals for a reform of the church . 21st Century, 1997.

Prompt: ニッコロ・アルベルガティ枢機卿の肖像に関して、どのように情報源が議論されていますか？英語で出力して下さい。


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聖三位一体の礼拝 (デューラー)

Adoration of the Trinity  is an oil painting on panel by the German Renaissance artist Albrecht Dürer, executed in 1511 and now in the Kunsthistorisches Museum, Vienna, Austria.

Prompt: 聖三位一体の礼拝 (デューラー)に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Kunsthistorisches Museum
Trinity
Vienna


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聖三位一体の礼拝 (デューラー)

Adoration of the Trinity  is an oil painting on panel by the German Renaissance artist Albrecht Dürer, executed in 1511 and now in the Kunsthistorisches Museum, Vienna, Austria.

Prompt: 聖三位一体の礼拝 (デューラー)の抽象を説明してください。英語で出力して下さい。

Albrecht Dürer
Kunsthistorisches Museum
Trinity
Vienna


section

聖三位一体の礼拝 (デューラー)

Adoration of the Trinity  is an oil painting on panel by the German Renaissance artist Albrecht Dürer, executed in 1511 and now in the Kunsthistorisches Museum, Vienna, Austria.

Prompt: 聖三位一体の礼拝 (デューラー)はどのように抽象を説明していますか？英語で出力して下さい。

Albrecht Dürer
Kunsthistorisches Museum
Trinity
Vienna


section

聖三位一体の礼拝 (デューラー)

Adoration of the Trinity  is an oil painting on panel by the German Renaissance artist Albrecht Dürer, executed in 1511 and now in the Kunsthistorisches Museum, Vienna, Austria.

Prompt: 聖三位一体の礼拝 (デューラー)に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Albrecht Dürer
Kunsthistorisches Museum
Trinity
Vienna


section

聖三位一体の礼拝 (デューラー)

The work was commissioned by the rich merchant Matthäus ndauer of Nuremberg for a chapel dedicated to the Holy Trinity and All the Saints in the Zwölfbrüderhaus , which he had founded with Erasmus Schiltkrot in 1501. The house was a charity institution which could house up to twelve artisans who were unable to sustain themselves with their work; ndauer himself lived here from 1510 until his death.The altarpiece was commissioned in 1508, but was delivered three years later, when it was placed in the church.

Prompt: 聖三位一体の礼拝 (デューラー)に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

聖三位一体の礼拝 (デューラー)

The work was commissioned by the rich merchant Matthäus ndauer of Nuremberg for a chapel dedicated to the Holy Trinity and All the Saints in the Zwölfbrüderhaus , which he had founded with Erasmus Schiltkrot in 1501. The house was a charity institution which could house up to twelve artisans who were unable to sustain themselves with their work; ndauer himself lived here from 1510 until his death.The altarpiece was commissioned in 1508, but was delivered three years later, when it was placed in the church.

Prompt: 聖三位一体の礼拝 (デューラー)の歴史を説明してください。英語で出力して下さい。


section

聖三位一体の礼拝 (デューラー)

The work was commissioned by the rich merchant Matthäus ndauer of Nuremberg for a chapel dedicated to the Holy Trinity and All the Saints in the Zwölfbrüderhaus , which he had founded with Erasmus Schiltkrot in 1501. The house was a charity institution which could house up to twelve artisans who were unable to sustain themselves with their work; ndauer himself lived here from 1510 until his death.The altarpiece was commissioned in 1508, but was delivered three years later, when it was placed in the church.

Prompt: 聖三位一体の礼拝 (デューラー)はどのように歴史を説明していますか？英語で出力して下さい。


section

聖三位一体の礼拝 (デューラー)

The work was commissioned by the rich merchant Matthäus ndauer of Nuremberg for a chapel dedicated to the Holy Trinity and All the Saints in the Zwölfbrüderhaus , which he had founded with Erasmus Schiltkrot in 1501. The house was a charity institution which could house up to twelve artisans who were unable to sustain themselves with their work; ndauer himself lived here from 1510 until his death.The altarpiece was commissioned in 1508, but was delivered three years later, when it was placed in the church.

Prompt: 聖三位一体の礼拝 (デューラー)に関して、どのように歴史が議論されていますか？英語で出力して下さい。


section

聖三位一体の礼拝 (デューラー)

The altar had no movable panels, as in numerous previous similar installations, and was included in a rich frame, also designed by Dürer. There is a carved depiction of the st Judgement at the top of the frame, and it also displays the donors' coats of arms.The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus. Above them, in a cloud of light surrounded by cherubim, is the Holy Spirit in the form of a dove. God the Father wears an imperial crown and a wide gilt cloak, lined in green and supported by angels.The artist paints a host of male and female saints of Heaven, inspired by Augustine, who are led by John the Baptist and the Virgin Mary, respectively. Below, the human multitudes are divided between religious men and women , and laymen, led by the Holy Roman Emperor—a division similar to that already adopted by Dürer in the Feast of the Rosary . At left, near a cardinal who is perhaps interceding for him, is the aged Matthäus ndauer, wearing rich garments and putting down his hat. A peasant, with one of his tools, represents the poor classes. On the right is an enigmatic queen whose face is entirely hidden by a veil, which leaves only the eyes visible.The lower section is occupied by a large landscape with the dawn above a lake, among hills, inspired by landscapes by Albrecht Altdorfer and Joachim Patinir. There is also a self-portrait of Dürer holding a cartouche with the signature and date inscription:}}

Prompt: 聖三位一体の礼拝 (デューラー)に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Albrecht Altdorfer
Feast of the Rosary
God the Father
Holy Roman Emperor
Joachim Patinir
John the Baptist
Trinity


section

聖三位一体の礼拝 (デューラー)

The altar had no movable panels, as in numerous previous similar installations, and was included in a rich frame, also designed by Dürer. There is a carved depiction of the st Judgement at the top of the frame, and it also displays the donors' coats of arms.The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus. Above them, in a cloud of light surrounded by cherubim, is the Holy Spirit in the form of a dove. God the Father wears an imperial crown and a wide gilt cloak, lined in green and supported by angels.The artist paints a host of male and female saints of Heaven, inspired by Augustine, who are led by John the Baptist and the Virgin Mary, respectively. Below, the human multitudes are divided between religious men and women , and laymen, led by the Holy Roman Emperor—a division similar to that already adopted by Dürer in the Feast of the Rosary . At left, near a cardinal who is perhaps interceding for him, is the aged Matthäus ndauer, wearing rich garments and putting down his hat. A peasant, with one of his tools, represents the poor classes. On the right is an enigmatic queen whose face is entirely hidden by a veil, which leaves only the eyes visible.The lower section is occupied by a large landscape with the dawn above a lake, among hills, inspired by landscapes by Albrecht Altdorfer and Joachim Patinir. There is also a self-portrait of Dürer holding a cartouche with the signature and date inscription:}}

Prompt: 聖三位一体の礼拝 (デューラー)の説明を説明してください。英語で出力して下さい。

Albrecht Altdorfer
Feast of the Rosary
God the Father
Holy Roman Emperor
Joachim Patinir
John the Baptist
Trinity


section

聖三位一体の礼拝 (デューラー)

The altar had no movable panels, as in numerous previous similar installations, and was included in a rich frame, also designed by Dürer. There is a carved depiction of the st Judgement at the top of the frame, and it also displays the donors' coats of arms.The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus. Above them, in a cloud of light surrounded by cherubim, is the Holy Spirit in the form of a dove. God the Father wears an imperial crown and a wide gilt cloak, lined in green and supported by angels.The artist paints a host of male and female saints of Heaven, inspired by Augustine, who are led by John the Baptist and the Virgin Mary, respectively. Below, the human multitudes are divided between religious men and women , and laymen, led by the Holy Roman Emperor—a division similar to that already adopted by Dürer in the Feast of the Rosary . At left, near a cardinal who is perhaps interceding for him, is the aged Matthäus ndauer, wearing rich garments and putting down his hat. A peasant, with one of his tools, represents the poor classes. On the right is an enigmatic queen whose face is entirely hidden by a veil, which leaves only the eyes visible.The lower section is occupied by a large landscape with the dawn above a lake, among hills, inspired by landscapes by Albrecht Altdorfer and Joachim Patinir. There is also a self-portrait of Dürer holding a cartouche with the signature and date inscription:}}

Prompt: 聖三位一体の礼拝 (デューラー)はどのように説明を説明していますか？英語で出力して下さい。

Albrecht Altdorfer
Feast of the Rosary
God the Father
Holy Roman Emperor
Joachim Patinir
John the Baptist
Trinity


section

聖三位一体の礼拝 (デューラー)

The altar had no movable panels, as in numerous previous similar installations, and was included in a rich frame, also designed by Dürer. There is a carved depiction of the st Judgement at the top of the frame, and it also displays the donors' coats of arms.The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus. Above them, in a cloud of light surrounded by cherubim, is the Holy Spirit in the form of a dove. God the Father wears an imperial crown and a wide gilt cloak, lined in green and supported by angels.The artist paints a host of male and female saints of Heaven, inspired by Augustine, who are led by John the Baptist and the Virgin Mary, respectively. Below, the human multitudes are divided between religious men and women , and laymen, led by the Holy Roman Emperor—a division similar to that already adopted by Dürer in the Feast of the Rosary . At left, near a cardinal who is perhaps interceding for him, is the aged Matthäus ndauer, wearing rich garments and putting down his hat. A peasant, with one of his tools, represents the poor classes. On the right is an enigmatic queen whose face is entirely hidden by a veil, which leaves only the eyes visible.The lower section is occupied by a large landscape with the dawn above a lake, among hills, inspired by landscapes by Albrecht Altdorfer and Joachim Patinir. There is also a self-portrait of Dürer holding a cartouche with the signature and date inscription:}}

Prompt: 聖三位一体の礼拝 (デューラー)に関して、どのように説明が議論されていますか？英語で出力して下さい。

Albrecht Altdorfer
Feast of the Rosary
God the Father
Holy Roman Emperor
Joachim Patinir
John the Baptist
Trinity


section

聖三位一体の礼拝 (デューラー)

Prompt: 聖三位一体の礼拝 (デューラー)に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

聖三位一体の礼拝 (デューラー)

Prompt: 聖三位一体の礼拝 (デューラー)の参照を説明してください。英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

聖三位一体の礼拝 (デューラー)

Prompt: 聖三位一体の礼拝 (デューラー)はどのように参照を説明していますか？英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

聖三位一体の礼拝 (デューラー)

Prompt: 聖三位一体の礼拝 (デューラー)に関して、どのように参照が議論されていますか？英語で出力して下さい。

Albrecht Dürer
List of paintings by Albrecht Dürer


section

聖三位一体の礼拝 (デューラー)

Carty, C. M. . Albrecht Dürer's Adoration of the Trinity: a reinterpretation. Art Bulletin, 67: 146–153.

Prompt: 聖三位一体の礼拝 (デューラー)に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

聖三位一体の礼拝 (デューラー)

Carty, C. M. . Albrecht Dürer's Adoration of the Trinity: a reinterpretation. Art Bulletin, 67: 146–153.

Prompt: 聖三位一体の礼拝 (デューラー)の情報源を説明してください。英語で出力して下さい。


section

聖三位一体の礼拝 (デューラー)

Carty, C. M. . Albrecht Dürer's Adoration of the Trinity: a reinterpretation. Art Bulletin, 67: 146–153.

Prompt: 聖三位一体の礼拝 (デューラー)はどのように情報源を説明していますか？英語で出力して下さい。


section

聖三位一体の礼拝 (デューラー)

Carty, C. M. . Albrecht Dürer's Adoration of the Trinity: a reinterpretation. Art Bulletin, 67: 146–153.

Prompt: 聖三位一体の礼拝 (デューラー)に関して、どのように情報源が議論されていますか？英語で出力して下さい。


section

美徳と悪徳の間の選択

Allegory of Virtue and Vice or The Choice Between Virtue and Vice or The Choice of Hercules is a painting by Paolo Veronese, created circa 1565 in Venice, Italy and now located in the Frick Collection. It is a large-scale allegorical painting depicting Hercules' struggle between virtue and vice, personified here by the figures of the two women physically pulling him in different directions.

Prompt: 美徳と悪徳の間の選択に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Allegory
Frick Collection
Hercules
Italy
Paolo Veronese
Venice
Vice
Virtue


section

美徳と悪徳の間の選択

Allegory of Virtue and Vice or The Choice Between Virtue and Vice or The Choice of Hercules is a painting by Paolo Veronese, created circa 1565 in Venice, Italy and now located in the Frick Collection. It is a large-scale allegorical painting depicting Hercules' struggle between virtue and vice, personified here by the figures of the two women physically pulling him in different directions.

Prompt: 美徳と悪徳の間の選択の抽象を説明してください。英語で出力して下さい。

Allegory
Frick Collection
Hercules
Italy
Paolo Veronese
Venice
Vice
Virtue


section

美徳と悪徳の間の選択

Allegory of Virtue and Vice or The Choice Between Virtue and Vice or The Choice of Hercules is a painting by Paolo Veronese, created circa 1565 in Venice, Italy and now located in the Frick Collection. It is a large-scale allegorical painting depicting Hercules' struggle between virtue and vice, personified here by the figures of the two women physically pulling him in different directions.

Prompt: 美徳と悪徳の間の選択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。

Allegory
Frick Collection
Hercules
Italy
Paolo Veronese
Venice
Vice
Virtue


section

美徳と悪徳の間の選択

Allegory of Virtue and Vice or The Choice Between Virtue and Vice or The Choice of Hercules is a painting by Paolo Veronese, created circa 1565 in Venice, Italy and now located in the Frick Collection. It is a large-scale allegorical painting depicting Hercules' struggle between virtue and vice, personified here by the figures of the two women physically pulling him in different directions.

Prompt: 美徳と悪徳の間の選択に関して、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。

Allegory
Frick Collection
Hercules
Italy
Paolo Veronese
Venice
Vice
Virtue


section

美徳と悪徳の間の選択

In the painting, Virtue appears to be winning the struggle over Hercules, but Vice has torn Hercules' stocking and still reaches out her hand toward him. Concealed behind her skirt is a dagger and a statue of a sphinx. On the stonework above the scene, an inscription reads "[HO]NOR ET VIRTUS/[P]OST MORTE FLORET ." As an allegory, the job of this painting is to convey a moral message, that of the superiority of virtue over vice.The genre of allegory contrasts with Veronese's well-known tableaus of historical and biblical scenes, such as the Marriage at Cana as well as with the less formal works of other Renaissance Venetian painters like Giorgione or Titian. This work, along with "Wisdom and Strength," also in the Frick Collection, is believed to be Veronese's first in this style. These two works are also thought by scholars to be his first to cross the Alps.

Prompt: 美徳と悪徳の間の選択に焦点を当てて、その主語を説明してください。英語で出力して下さい。

Frick Collection
Giorgione
Hercules
Renaissance
Titian
Vice
Virtue


section

美徳と悪徳の間の選択

In the painting, Virtue appears to be winning the struggle over Hercules, but Vice has torn Hercules' stocking and still reaches out her hand toward him. Concealed behind her skirt is a dagger and a statue of a sphinx. On the stonework above the scene, an inscription reads "[HO]NOR ET VIRTUS/[P]OST MORTE FLORET ." As an allegory, the job of this painting is to convey a moral message, that of the superiority of virtue over vice.The genre of allegory contrasts with Veronese's well-known tableaus of historical and biblical scenes, such as the Marriage at Cana as well as with the less formal works of other Renaissance Venetian painters like Giorgione or Titian. This work, along with "Wisdom and Strength," also in the Frick Collection, is believed to be Veronese's first in this style. These two works are also thought by scholars to be his first to cross the Alps.

Prompt: 美徳と悪徳の間の選択の主語を説明してください。英語で出力して下さい。

Frick Collection
Giorgione
Hercules
Renaissance
Titian
Vice
Virtue


section

美徳と悪徳の間の選択

In the painting, Virtue appears to be winning the struggle over Hercules, but Vice has torn Hercules' stocking and still reaches out her hand toward him. Concealed behind her skirt is a dagger and a statue of a sphinx. On the stonework above the scene, an inscription reads "[HO]NOR ET VIRTUS/[P]OST MORTE FLORET ." As an allegory, the job of this painting is to convey a moral message, that of the superiority of virtue over vice.The genre of allegory contrasts with Veronese's well-known tableaus of historical and biblical scenes, such as the Marriage at Cana as well as with the less formal works of other Renaissance Venetian painters like Giorgione or Titian. This work, along with "Wisdom and Strength," also in the Frick Collection, is believed to be Veronese's first in this style. These two works are also thought by scholars to be his first to cross the Alps.

Prompt: 美徳と悪徳の間の選択はどのように主語を説明していますか？英語で出力して下さい。

Frick Collection
Giorgione
Hercules
Renaissance
Titian
Vice
Virtue


section

美徳と悪徳の間の選択

In the painting, Virtue appears to be winning the struggle over Hercules, but Vice has torn Hercules' stocking and still reaches out her hand toward him. Concealed behind her skirt is a dagger and a statue of a sphinx. On the stonework above the scene, an inscription reads "[HO]NOR ET VIRTUS/[P]OST MORTE FLORET ." As an allegory, the job of this painting is to convey a moral message, that of the superiority of virtue over vice.The genre of allegory contrasts with Veronese's well-known tableaus of historical and biblical scenes, such as the Marriage at Cana as well as with the less formal works of other Renaissance Venetian painters like Giorgione or Titian. This work, along with "Wisdom and Strength," also in the Frick Collection, is believed to be Veronese's first in this style. These two works are also thought by scholars to be his first to cross the Alps.

Prompt: 美徳と悪徳の間の選択に関して、どのように主語が議論されていますか？英語で出力して下さい。

Frick Collection
Giorgione
Hercules
Renaissance
Titian
Vice
Virtue


section

美徳と悪徳の間の選択

The Choice Between Virtue and Vice and Wisdom and Strength have traveled together since their creation, through many prestigious owners and collections. Because of this, many scholars assumed that Veronese painted them as a pair. In 1970, Edgar Munhall was the first scholar to suggest that they were simply made at the same time, not as pendants. Work undertaken by scholars at the Metropolitan Museum of Art in the 2000s confirmed that the two were made individually.From its creation in Venice, this painting traveled through the hands of Emperor Rudolph II of the Holy Roman Empire, Queen Christina of Sweden, the Odesalchi family, the famous Orleans collection of Philippe II, Duke of Orleans, and then through the hands of various Englishmen and art dealers before arriving at its current home in the Frick Collection.

Prompt: 美徳と悪徳の間の選択に焦点を当てて、その起源を説明してください。英語で出力して下さい。

Frick Collection
Metropolitan Museum of Art
Venice
Vice
Virtue


section

美徳と悪徳の間の選択

The Choice Between Virtue and Vice and Wisdom and Strength have traveled together since their creation, through many prestigious owners and collections. Because of this, many scholars assumed that Veronese painted them as a pair. In 1970, Edgar Munhall was the first scholar to suggest that they were simply made at the same time, not as pendants. Work undertaken by scholars at the Metropolitan Museum of Art in the 2000s confirmed that the two were made individually.From its creation in Venice, this painting traveled through the hands of Emperor Rudolph II of the Holy Roman Empire, Queen Christina of Sweden, the Odesalchi family, the famous Orleans collection of Philippe II, Duke of Orleans, and then through the hands of various Englishmen and art dealers before arriving at its current home in the Frick Collection.

Prompt: 美徳と悪徳の間の選択の起源を説明してください。英語で出力して下さい。

Frick Collection
Metropolitan Museum of Art
Venice
Vice
Virtue