section

藤島武二

birth_place      = Kagoshima Satsuma Domain, Japan death_date     =  death_place    = Tokyo, Japan nationality   = Japanese field         =  Painting training      =  movement      = Yōga works         =  patrons       =  awards = }} was a Japanese painter, noted for his work in developing Romanticism and impressionism within the yōga  art movement in late 19th- and early 20th-century Japanese painting. In his later years, he was influenced by the Art Nouveau movement.

Prompt: 藤島武二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。

Art Nouveau
Japan
Japanese painting
Painting
Romanticism
Satsuma Domain
Tokyo


section

藤島武二

birth_place      = Kagoshima Satsuma Domain, Japan death_date     =  death_place    = Tokyo, Japan nationality   = Japanese field         =  Painting training      =  movement      = Yōga works         =  patrons       =  awards = }} was a Japanese painter, noted for his work in developing Romanticism and impressionism within the yōga  art movement in late 19th- and early 20th-century Japanese painting. In his later years, he was influenced by the Art Nouveau movement.

Prompt: 藤島武二に関して、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。

Art Nouveau
Japan
Japanese painting
Painting
Romanticism
Satsuma Domain
Tokyo


section

藤島武二

Fujishima was born to an ex-samurai class household in Kagoshima, Satsuma Domain in southern Kyūshū, Japan, where his father had been a retainer of the Shimazu clan daimyō. After studying art at Kagoshima Middle School he left home in 1884 to pursue his studies in Tokyo, first with Kawabata Gyokusho, a Shijō school nihonga artist. However, Fujishima was attracted to the new western-style oil painting techniques, and switched to yōga-style painting, which he learned under Yamamoto Hōsui and Soyama Yukihiro. His graduation piece, “Cruelty” was exhibited at the 3rd Meiji Art Association Exhibition in 1891, where it was viewed by noted novelist and art critic Mori Ōgai.Fujishima moved to Tsu in Mie Prefecture in 1893, where he was an assistant teacher at the Mie Prefectural Elementary School, but soon returned to Tokyo in 1896 under the sponsorship of Kuroda Seiki to become an assistant professor at the Tokyo Art School's Western Painting Department. He also joined Kuroda's art coterie, the Hakubakai .Travelling to France in 1905, Fujishima studied the techniques of historical painting under Fernand Cormon at the École nationale supérieure des Beaux-Arts in Paris, and portraiture under Carolus-Duran at the French Academy in Rome in Italy. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the newly created Order of Culture of  the Japanese government.Fujishima died in 1943; his grave is at the Aoyama Cemetery, in Tokyo.

Prompt: 藤島武二に焦点を当てて、その伝記を説明してください。英語で出力して下さい。

Aoyama Cemetery
Carolus-Duran
Fernand Cormon
France
French Academy in Rome
Italy
Japan
Kawabata Gyokusho
Kuroda Seiki
Mie Prefecture
Mori Ōgai
Order of Culture
Painting
Paris
Satsuma Domain
Shijō school
Shimazu clan
Soyama Yukihiro
Tokyo
Yamamoto Hōsui


section

藤島武二

Fujishima was born to an ex-samurai class household in Kagoshima, Satsuma Domain in southern Kyūshū, Japan, where his father had been a retainer of the Shimazu clan daimyō. After studying art at Kagoshima Middle School he left home in 1884 to pursue his studies in Tokyo, first with Kawabata Gyokusho, a Shijō school nihonga artist. However, Fujishima was attracted to the new western-style oil painting techniques, and switched to yōga-style painting, which he learned under Yamamoto Hōsui and Soyama Yukihiro. His graduation piece, “Cruelty” was exhibited at the 3rd Meiji Art Association Exhibition in 1891, where it was viewed by noted novelist and art critic Mori Ōgai.Fujishima moved to Tsu in Mie Prefecture in 1893, where he was an assistant teacher at the Mie Prefectural Elementary School, but soon returned to Tokyo in 1896 under the sponsorship of Kuroda Seiki to become an assistant professor at the Tokyo Art School's Western Painting Department. He also joined Kuroda's art coterie, the Hakubakai .Travelling to France in 1905, Fujishima studied the techniques of historical painting under Fernand Cormon at the École nationale supérieure des Beaux-Arts in Paris, and portraiture under Carolus-Duran at the French Academy in Rome in Italy. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the newly created Order of Culture of  the Japanese government.Fujishima died in 1943; his grave is at the Aoyama Cemetery, in Tokyo.

Prompt: 藤島武二の伝記を説明してください。英語で出力して下さい。

Aoyama Cemetery
Carolus-Duran
Fernand Cormon
France
French Academy in Rome
Italy
Japan
Kawabata Gyokusho
Kuroda Seiki
Mie Prefecture
Mori Ōgai
Order of Culture
Painting
Paris
Satsuma Domain
Shijō school
Shimazu clan
Soyama Yukihiro
Tokyo
Yamamoto Hōsui


section

藤島武二

Fujishima was born to an ex-samurai class household in Kagoshima, Satsuma Domain in southern Kyūshū, Japan, where his father had been a retainer of the Shimazu clan daimyō. After studying art at Kagoshima Middle School he left home in 1884 to pursue his studies in Tokyo, first with Kawabata Gyokusho, a Shijō school nihonga artist. However, Fujishima was attracted to the new western-style oil painting techniques, and switched to yōga-style painting, which he learned under Yamamoto Hōsui and Soyama Yukihiro. His graduation piece, “Cruelty” was exhibited at the 3rd Meiji Art Association Exhibition in 1891, where it was viewed by noted novelist and art critic Mori Ōgai.Fujishima moved to Tsu in Mie Prefecture in 1893, where he was an assistant teacher at the Mie Prefectural Elementary School, but soon returned to Tokyo in 1896 under the sponsorship of Kuroda Seiki to become an assistant professor at the Tokyo Art School's Western Painting Department. He also joined Kuroda's art coterie, the Hakubakai .Travelling to France in 1905, Fujishima studied the techniques of historical painting under Fernand Cormon at the École nationale supérieure des Beaux-Arts in Paris, and portraiture under Carolus-Duran at the French Academy in Rome in Italy. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the newly created Order of Culture of  the Japanese government.Fujishima died in 1943; his grave is at the Aoyama Cemetery, in Tokyo.

Prompt: 藤島武二はどのように伝記を説明していますか？英語で出力して下さい。

Aoyama Cemetery
Carolus-Duran
Fernand Cormon
France
French Academy in Rome
Italy
Japan
Kawabata Gyokusho
Kuroda Seiki
Mie Prefecture
Mori Ōgai
Order of Culture
Painting
Paris
Satsuma Domain
Shijō school
Shimazu clan
Soyama Yukihiro
Tokyo
Yamamoto Hōsui


section

藤島武二

Fujishima was born to an ex-samurai class household in Kagoshima, Satsuma Domain in southern Kyūshū, Japan, where his father had been a retainer of the Shimazu clan daimyō. After studying art at Kagoshima Middle School he left home in 1884 to pursue his studies in Tokyo, first with Kawabata Gyokusho, a Shijō school nihonga artist. However, Fujishima was attracted to the new western-style oil painting techniques, and switched to yōga-style painting, which he learned under Yamamoto Hōsui and Soyama Yukihiro. His graduation piece, “Cruelty” was exhibited at the 3rd Meiji Art Association Exhibition in 1891, where it was viewed by noted novelist and art critic Mori Ōgai.Fujishima moved to Tsu in Mie Prefecture in 1893, where he was an assistant teacher at the Mie Prefectural Elementary School, but soon returned to Tokyo in 1896 under the sponsorship of Kuroda Seiki to become an assistant professor at the Tokyo Art School's Western Painting Department. He also joined Kuroda's art coterie, the Hakubakai .Travelling to France in 1905, Fujishima studied the techniques of historical painting under Fernand Cormon at the École nationale supérieure des Beaux-Arts in Paris, and portraiture under Carolus-Duran at the French Academy in Rome in Italy. He returned to Japan in 1910 and became a professor at the Tokyo Art School and a member of the Imperial Art Academy. In 1937, he was one of the first recipients of the newly created Order of Culture of  the Japanese government.Fujishima died in 1943; his grave is at the Aoyama Cemetery, in Tokyo.

Prompt: 藤島武二に関して、どのように伝記が議論されていますか？英語で出力して下さい。

Aoyama Cemetery
Carolus-Duran
Fernand Cormon
France
French Academy in Rome
Italy
Japan
Kawabata Gyokusho
Kuroda Seiki
Mie Prefecture
Mori Ōgai
Order of Culture
Painting
Paris
Satsuma Domain
Shijō school
Shimazu clan
Soyama Yukihiro
Tokyo
Yamamoto Hōsui


section

藤島武二

, 1904, Private Collection, National Important Cultural Property, 1909, Bridgestone Museum of Art , 1902, Ishibashi Art Museum,  Sunrise over the Eastern Sea, 1932

Prompt: 藤島武二に焦点を当てて、その注目作品を説明してください。英語で出力して下さい。


section

藤島武二

, 1904, Private Collection, National Important Cultural Property, 1909, Bridgestone Museum of Art , 1902, Ishibashi Art Museum,  Sunrise over the Eastern Sea, 1932

Prompt: 藤島武二の注目作品を説明してください。英語で出力して下さい。


section

藤島武二

, 1904, Private Collection, National Important Cultural Property, 1909, Bridgestone Museum of Art , 1902, Ishibashi Art Museum,  Sunrise over the Eastern Sea, 1932

Prompt: 藤島武二はどのように注目作品を説明していますか？英語で出力して下さい。


section

藤島武二

, 1904, Private Collection, National Important Cultural Property, 1909, Bridgestone Museum of Art , 1902, Ishibashi Art Museum,  Sunrise over the Eastern Sea, 1932

Prompt: 藤島武二に関して、どのように注目作品が議論されていますか？英語で出力して下さい。


section

藤島武二

Keene, Donald. Dawn to the West. Columbia University Press; .  Mason, Penelope. History of Japanese Art . Prentice Hall .  Sadao, Tsuneko. Discovering the Arts of Japan: A Historical Overview. Kodansha International .  Schaarschmidt-Richter, Irmtraud. Japanese Modern Art Painting From 1910 . Edition Stemmle.  Weisenfeld, Gennifer. MAVO: Japanese Artists and the Avant-Garde, 1905-1931. University of California Press .

Prompt: 藤島武二に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

藤島武二

Keene, Donald. Dawn to the West. Columbia University Press; .  Mason, Penelope. History of Japanese Art . Prentice Hall .  Sadao, Tsuneko. Discovering the Arts of Japan: A Historical Overview. Kodansha International .  Schaarschmidt-Richter, Irmtraud. Japanese Modern Art Painting From 1910 . Edition Stemmle.  Weisenfeld, Gennifer. MAVO: Japanese Artists and the Avant-Garde, 1905-1931. University of California Press .

Prompt: 藤島武二の参考文献を説明してください。英語で出力して下さい。


section

藤島武二

Keene, Donald. Dawn to the West. Columbia University Press; .  Mason, Penelope. History of Japanese Art . Prentice Hall .  Sadao, Tsuneko. Discovering the Arts of Japan: A Historical Overview. Kodansha International .  Schaarschmidt-Richter, Irmtraud. Japanese Modern Art Painting From 1910 . Edition Stemmle.  Weisenfeld, Gennifer. MAVO: Japanese Artists and the Avant-Garde, 1905-1931. University of California Press .

Prompt: 藤島武二はどのように参考文献を説明していますか？英語で出力して下さい。


section

藤島武二

Keene, Donald. Dawn to the West. Columbia University Press; .  Mason, Penelope. History of Japanese Art . Prentice Hall .  Sadao, Tsuneko. Discovering the Arts of Japan: A Historical Overview. Kodansha International .  Schaarschmidt-Richter, Irmtraud. Japanese Modern Art Painting From 1910 . Edition Stemmle.  Weisenfeld, Gennifer. MAVO: Japanese Artists and the Avant-Garde, 1905-1931. University of California Press .

Prompt: 藤島武二に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

クレオパトラの死

The Death of Cleopatra , also known simply as Cleopatra, is an 1881 oil painting on canvas by the Filipino painter Juan Luna, currently on display at the Museo del Prado in Madrid, Spain. Depicting the death of Cleopatra, the last active ruler of Ancient Egypt, the painting was painted during Luna's stay in Rome, and later won a silver medal during the 1881 National Exposition of Fine Arts in Madrid, which was also his first art exposition.The painting, one of only three pieces by Filipino artists on permanent display at the Prado, is notable both for its composition and its history. Painted during a time of increased national consciousness, The Death of Cleopatra not only served as a representation of a colonized people standing up against their colonizer, but also brought to attention the ability of Filipino artists, and particularly Luna himself, to surpass their European contemporaries.

Prompt: クレオパトラの死に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Ancient Egypt
Cleopatra
Death of Cleopatra
Juan Luna
Madrid
Museo del Prado
Rome
Spain


section

クレオパトラの死

The Death of Cleopatra , also known simply as Cleopatra, is an 1881 oil painting on canvas by the Filipino painter Juan Luna, currently on display at the Museo del Prado in Madrid, Spain. Depicting the death of Cleopatra, the last active ruler of Ancient Egypt, the painting was painted during Luna's stay in Rome, and later won a silver medal during the 1881 National Exposition of Fine Arts in Madrid, which was also his first art exposition.The painting, one of only three pieces by Filipino artists on permanent display at the Prado, is notable both for its composition and its history. Painted during a time of increased national consciousness, The Death of Cleopatra not only served as a representation of a colonized people standing up against their colonizer, but also brought to attention the ability of Filipino artists, and particularly Luna himself, to surpass their European contemporaries.

Prompt: クレオパトラの死の抽象を説明してください。英語で出力して下さい。

Ancient Egypt
Cleopatra
Death of Cleopatra
Juan Luna
Madrid
Museo del Prado
Rome
Spain


section

クレオパトラの死

The Death of Cleopatra , also known simply as Cleopatra, is an 1881 oil painting on canvas by the Filipino painter Juan Luna, currently on display at the Museo del Prado in Madrid, Spain. Depicting the death of Cleopatra, the last active ruler of Ancient Egypt, the painting was painted during Luna's stay in Rome, and later won a silver medal during the 1881 National Exposition of Fine Arts in Madrid, which was also his first art exposition.The painting, one of only three pieces by Filipino artists on permanent display at the Prado, is notable both for its composition and its history. Painted during a time of increased national consciousness, The Death of Cleopatra not only served as a representation of a colonized people standing up against their colonizer, but also brought to attention the ability of Filipino artists, and particularly Luna himself, to surpass their European contemporaries.

Prompt: クレオパトラの死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。

Ancient Egypt
Cleopatra
Death of Cleopatra
Juan Luna
Madrid
Museo del Prado
Rome
Spain


section

クレオパトラの死

The Death of Cleopatra , also known simply as Cleopatra, is an 1881 oil painting on canvas by the Filipino painter Juan Luna, currently on display at the Museo del Prado in Madrid, Spain. Depicting the death of Cleopatra, the last active ruler of Ancient Egypt, the painting was painted during Luna's stay in Rome, and later won a silver medal during the 1881 National Exposition of Fine Arts in Madrid, which was also his first art exposition.The painting, one of only three pieces by Filipino artists on permanent display at the Prado, is notable both for its composition and its history. Painted during a time of increased national consciousness, The Death of Cleopatra not only served as a representation of a colonized people standing up against their colonizer, but also brought to attention the ability of Filipino artists, and particularly Luna himself, to surpass their European contemporaries.

Prompt: クレオパトラの死に関して、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。

Ancient Egypt
Cleopatra
Death of Cleopatra
Juan Luna
Madrid
Museo del Prado
Rome
Spain


section

クレオパトラの死

The Death of Cleopatra depicts Cleopatra moments after her death, with Luna taking inspiration for the painting's composition from Plutarch's account of her life in his Parallel Lives series. Her corpse is found at the center of the painting, lying on a bed adorned with a golden headboard and covered with rich bedsheets, with the sheets themselves decorated with hieroglyphs and the footboard similarly adorned in gold. Cleopatra herself is bejeweled and dressed in a manner befitting that of an Egyptian queen, and smoke coming from a nearby lamp, said to contain incense, hovering above her body signifies that she had died, giving the piece a mysterious aura. While Cleopatra is clothed, the cloth above her belt and around her breasts is transparent, playing into the popular concept of an "eroticized" Cleopatra that is common in other works of the era depicting her death.Two servants in various states of collapse are also present in the painting, with the first, Iras, already dead by Cleopatra's feet. The second, the dark-skinned Charmion, is seen falling after she adjusts Cleopatra's diadem, dying shortly thereafter. Meanwhile, the asp that reportedly caused Cleopatra's death is seen by the foot of one of the room's columns, barely visible as it slithers away.The setting for The Death of Cleopatra is funerary in nature, indicated by the various decorations in the room such as the sphinx by the footboard, canopic jars by the headboard, the lamp and even the columns decorated with hieroglyphs. A statue of Anubis is also present in the background, foreshadowing what was to come.

Prompt: クレオパトラの死に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Anubis
Cleopatra
Death of Cleopatra
Parallel Lives
Plutarch


section

クレオパトラの死

The Death of Cleopatra depicts Cleopatra moments after her death, with Luna taking inspiration for the painting's composition from Plutarch's account of her life in his Parallel Lives series. Her corpse is found at the center of the painting, lying on a bed adorned with a golden headboard and covered with rich bedsheets, with the sheets themselves decorated with hieroglyphs and the footboard similarly adorned in gold. Cleopatra herself is bejeweled and dressed in a manner befitting that of an Egyptian queen, and smoke coming from a nearby lamp, said to contain incense, hovering above her body signifies that she had died, giving the piece a mysterious aura. While Cleopatra is clothed, the cloth above her belt and around her breasts is transparent, playing into the popular concept of an "eroticized" Cleopatra that is common in other works of the era depicting her death.Two servants in various states of collapse are also present in the painting, with the first, Iras, already dead by Cleopatra's feet. The second, the dark-skinned Charmion, is seen falling after she adjusts Cleopatra's diadem, dying shortly thereafter. Meanwhile, the asp that reportedly caused Cleopatra's death is seen by the foot of one of the room's columns, barely visible as it slithers away.The setting for The Death of Cleopatra is funerary in nature, indicated by the various decorations in the room such as the sphinx by the footboard, canopic jars by the headboard, the lamp and even the columns decorated with hieroglyphs. A statue of Anubis is also present in the background, foreshadowing what was to come.

Prompt: クレオパトラの死の説明を説明してください。英語で出力して下さい。

Anubis
Cleopatra
Death of Cleopatra
Parallel Lives
Plutarch


section

クレオパトラの死

The Death of Cleopatra depicts Cleopatra moments after her death, with Luna taking inspiration for the painting's composition from Plutarch's account of her life in his Parallel Lives series. Her corpse is found at the center of the painting, lying on a bed adorned with a golden headboard and covered with rich bedsheets, with the sheets themselves decorated with hieroglyphs and the footboard similarly adorned in gold. Cleopatra herself is bejeweled and dressed in a manner befitting that of an Egyptian queen, and smoke coming from a nearby lamp, said to contain incense, hovering above her body signifies that she had died, giving the piece a mysterious aura. While Cleopatra is clothed, the cloth above her belt and around her breasts is transparent, playing into the popular concept of an "eroticized" Cleopatra that is common in other works of the era depicting her death.Two servants in various states of collapse are also present in the painting, with the first, Iras, already dead by Cleopatra's feet. The second, the dark-skinned Charmion, is seen falling after she adjusts Cleopatra's diadem, dying shortly thereafter. Meanwhile, the asp that reportedly caused Cleopatra's death is seen by the foot of one of the room's columns, barely visible as it slithers away.The setting for The Death of Cleopatra is funerary in nature, indicated by the various decorations in the room such as the sphinx by the footboard, canopic jars by the headboard, the lamp and even the columns decorated with hieroglyphs. A statue of Anubis is also present in the background, foreshadowing what was to come.

Prompt: クレオパトラの死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。

Anubis
Cleopatra
Death of Cleopatra
Parallel Lives
Plutarch


section

クレオパトラの死

The Death of Cleopatra depicts Cleopatra moments after her death, with Luna taking inspiration for the painting's composition from Plutarch's account of her life in his Parallel Lives series. Her corpse is found at the center of the painting, lying on a bed adorned with a golden headboard and covered with rich bedsheets, with the sheets themselves decorated with hieroglyphs and the footboard similarly adorned in gold. Cleopatra herself is bejeweled and dressed in a manner befitting that of an Egyptian queen, and smoke coming from a nearby lamp, said to contain incense, hovering above her body signifies that she had died, giving the piece a mysterious aura. While Cleopatra is clothed, the cloth above her belt and around her breasts is transparent, playing into the popular concept of an "eroticized" Cleopatra that is common in other works of the era depicting her death.Two servants in various states of collapse are also present in the painting, with the first, Iras, already dead by Cleopatra's feet. The second, the dark-skinned Charmion, is seen falling after she adjusts Cleopatra's diadem, dying shortly thereafter. Meanwhile, the asp that reportedly caused Cleopatra's death is seen by the foot of one of the room's columns, barely visible as it slithers away.The setting for The Death of Cleopatra is funerary in nature, indicated by the various decorations in the room such as the sphinx by the footboard, canopic jars by the headboard, the lamp and even the columns decorated with hieroglyphs. A statue of Anubis is also present in the background, foreshadowing what was to come.

Prompt: クレオパトラの死に関して、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。

Anubis
Cleopatra
Death of Cleopatra
Parallel Lives
Plutarch


section

クレオパトラの死

Luna first began work on The Death of Cleopatra in his then-studio on Via Margutta in Rome, where he had lived since moving to the city in 1878 with his master, Alejo Vera. Unlike the final piece, the boceto was sold for  at an auction by Salcedo Auctions in March 2019.Because of the exposure, Luna received a pension scholarship at the Ayuntamiento de Manila. the highest price for a painting at the time. As Luna's "graduation work", The Death of Cleopatra was acquired by the Spanish government for one thousand duros.After its last appearance in 1887, the painting was again shown to the public 130 years later in 2017 at the National Gallery Singapore.

Prompt: クレオパトラの死に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Alejo Vera
Ayuntamiento de Manila
Cleopatra
Death of Cleopatra
National Gallery Singapore
Rome
Via Margutta


section

クレオパトラの死

Luna first began work on The Death of Cleopatra in his then-studio on Via Margutta in Rome, where he had lived since moving to the city in 1878 with his master, Alejo Vera. Unlike the final piece, the boceto was sold for  at an auction by Salcedo Auctions in March 2019.Because of the exposure, Luna received a pension scholarship at the Ayuntamiento de Manila. the highest price for a painting at the time. As Luna's "graduation work", The Death of Cleopatra was acquired by the Spanish government for one thousand duros.After its last appearance in 1887, the painting was again shown to the public 130 years later in 2017 at the National Gallery Singapore.

Prompt: クレオパトラの死の歴史を説明してください。英語で出力して下さい。

Alejo Vera
Ayuntamiento de Manila
Cleopatra
Death of Cleopatra
National Gallery Singapore
Rome
Via Margutta


section

クレオパトラの死

Luna first began work on The Death of Cleopatra in his then-studio on Via Margutta in Rome, where he had lived since moving to the city in 1878 with his master, Alejo Vera. Unlike the final piece, the boceto was sold for  at an auction by Salcedo Auctions in March 2019.Because of the exposure, Luna received a pension scholarship at the Ayuntamiento de Manila. the highest price for a painting at the time. As Luna's "graduation work", The Death of Cleopatra was acquired by the Spanish government for one thousand duros.After its last appearance in 1887, the painting was again shown to the public 130 years later in 2017 at the National Gallery Singapore.

Prompt: クレオパトラの死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。

Alejo Vera
Ayuntamiento de Manila
Cleopatra
Death of Cleopatra
National Gallery Singapore
Rome
Via Margutta


section

クレオパトラの死

Luna first began work on The Death of Cleopatra in his then-studio on Via Margutta in Rome, where he had lived since moving to the city in 1878 with his master, Alejo Vera. Unlike the final piece, the boceto was sold for  at an auction by Salcedo Auctions in March 2019.Because of the exposure, Luna received a pension scholarship at the Ayuntamiento de Manila. the highest price for a painting at the time. As Luna's "graduation work", The Death of Cleopatra was acquired by the Spanish government for one thousand duros.After its last appearance in 1887, the painting was again shown to the public 130 years later in 2017 at the National Gallery Singapore.

Prompt: クレオパトラの死に関して、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。

Alejo Vera
Ayuntamiento de Manila
Cleopatra
Death of Cleopatra
National Gallery Singapore
Rome
Via Margutta


section

クレオパトラの死

Spoliarium España y Filipinas s Damas Romanas The Blood Compact

Prompt: クレオパトラの死に焦点を当てて、そのシーリストを説明してください。英語で出力して下さい。

España y Filipinas
Spoliarium
The Blood Compact


section

クレオパトラの死

Spoliarium España y Filipinas s Damas Romanas The Blood Compact

Prompt: クレオパトラの死のシーリストを説明してください。英語で出力して下さい。

España y Filipinas
Spoliarium
The Blood Compact


section

クレオパトラの死

Spoliarium España y Filipinas s Damas Romanas The Blood Compact

Prompt: クレオパトラの死はどのようにシーリストを説明していますか？英語で出力して下さい。

España y Filipinas
Spoliarium
The Blood Compact


section

クレオパトラの死

Spoliarium España y Filipinas s Damas Romanas The Blood Compact

Prompt: クレオパトラの死に関して、どのようにシーリストが議論されていますか？英語で出力して下さい。

España y Filipinas
Spoliarium
The Blood Compact


section

ヴィーナスへの奉献

__NOTOC__</ref> medium             = Oil on canvas subject            = Venus  height_metric      = 172 width_metric       = 175 museum             = Museo del Prado city               = Madrid}}The Worship of Venus is an oil on canvas painting by the Italian artist Titian completed between 1518 and 1519, housed at the Museo del Prado in Madrid, Spain.

Prompt: ヴィーナスへの奉献に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

__NOTOC__</ref> medium             = Oil on canvas subject            = Venus  height_metric      = 172 width_metric       = 175 museum             = Museo del Prado city               = Madrid}}The Worship of Venus is an oil on canvas painting by the Italian artist Titian completed between 1518 and 1519, housed at the Museo del Prado in Madrid, Spain.

Prompt: ヴィーナスへの奉献の抽象を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

__NOTOC__</ref> medium             = Oil on canvas subject            = Venus  height_metric      = 172 width_metric       = 175 museum             = Museo del Prado city               = Madrid}}The Worship of Venus is an oil on canvas painting by the Italian artist Titian completed between 1518 and 1519, housed at the Museo del Prado in Madrid, Spain.

Prompt: ヴィーナスへの奉献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

ヴィーナスへの奉献

__NOTOC__</ref> medium             = Oil on canvas subject            = Venus  height_metric      = 172 width_metric       = 175 museum             = Museo del Prado city               = Madrid}}The Worship of Venus is an oil on canvas painting by the Italian artist Titian completed between 1518 and 1519, housed at the Museo del Prado in Madrid, Spain.

Prompt: ヴィーナスへの奉献に関して、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

ヴィーナスへの奉献

In Titian's work, two nymphs, one young and one matronly, are situated to the right of the ceremony, attending to a shrine holding a statue of Venus according to the iconography of the Venus Pudica. The shrine is surrounded by votive tablets. The older woman checks on the decorations with the use of a mirror which she holds high in her extended right hand. The foreground of the canvas is thronged with a swarm of male infants, or putti, who distract themselves in activities such as climbing trees, leaping, flying, gathering apples, lying around, fighting, fondling, shooting arrows and pulling each other's hair. A dam is shown in the middle background, near a sunlit meadow. The far distance is decorated with a mountain and blue sky.

Prompt: ヴィーナスへの奉献に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

In Titian's work, two nymphs, one young and one matronly, are situated to the right of the ceremony, attending to a shrine holding a statue of Venus according to the iconography of the Venus Pudica. The shrine is surrounded by votive tablets. The older woman checks on the decorations with the use of a mirror which she holds high in her extended right hand. The foreground of the canvas is thronged with a swarm of male infants, or putti, who distract themselves in activities such as climbing trees, leaping, flying, gathering apples, lying around, fighting, fondling, shooting arrows and pulling each other's hair. A dam is shown in the middle background, near a sunlit meadow. The far distance is decorated with a mountain and blue sky.

Prompt: ヴィーナスへの奉献の説明を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

In Titian's work, two nymphs, one young and one matronly, are situated to the right of the ceremony, attending to a shrine holding a statue of Venus according to the iconography of the Venus Pudica. The shrine is surrounded by votive tablets. The older woman checks on the decorations with the use of a mirror which she holds high in her extended right hand. The foreground of the canvas is thronged with a swarm of male infants, or putti, who distract themselves in activities such as climbing trees, leaping, flying, gathering apples, lying around, fighting, fondling, shooting arrows and pulling each other's hair. A dam is shown in the middle background, near a sunlit meadow. The far distance is decorated with a mountain and blue sky.

Prompt: ヴィーナスへの奉献はどのように説明を説明していますか？英語で出力して下さい。


section

ヴィーナスへの奉献

In Titian's work, two nymphs, one young and one matronly, are situated to the right of the ceremony, attending to a shrine holding a statue of Venus according to the iconography of the Venus Pudica. The shrine is surrounded by votive tablets. The older woman checks on the decorations with the use of a mirror which she holds high in her extended right hand. The foreground of the canvas is thronged with a swarm of male infants, or putti, who distract themselves in activities such as climbing trees, leaping, flying, gathering apples, lying around, fighting, fondling, shooting arrows and pulling each other's hair. A dam is shown in the middle background, near a sunlit meadow. The far distance is decorated with a mountain and blue sky.

Prompt: ヴィーナスへの奉献に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

ヴィーナスへの奉献

Titian based the image on the writings of the Greek sophist Philostratus. In his "Imagines I, VI", Philostratus wrote, "See cupids are gathering apples: and if there are many of them, do not be surprised...The cupids' quiver are studded with gold, and golden also are the darts in them...they have hung their quivers on the apple trees; and in the grass lie their broidered mantles...Ah, the baskets into which they gather their apples!"

Prompt: ヴィーナスへの奉献に焦点を当てて、その原材料を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

Titian based the image on the writings of the Greek sophist Philostratus. In his "Imagines I, VI", Philostratus wrote, "See cupids are gathering apples: and if there are many of them, do not be surprised...The cupids' quiver are studded with gold, and golden also are the darts in them...they have hung their quivers on the apple trees; and in the grass lie their broidered mantles...Ah, the baskets into which they gather their apples!"

Prompt: ヴィーナスへの奉献の原材料を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

Titian based the image on the writings of the Greek sophist Philostratus. In his "Imagines I, VI", Philostratus wrote, "See cupids are gathering apples: and if there are many of them, do not be surprised...The cupids' quiver are studded with gold, and golden also are the darts in them...they have hung their quivers on the apple trees; and in the grass lie their broidered mantles...Ah, the baskets into which they gather their apples!"

Prompt: ヴィーナスへの奉献はどのように原材料を説明していますか？英語で出力して下さい。


section

ヴィーナスへの奉献

Titian based the image on the writings of the Greek sophist Philostratus. In his "Imagines I, VI", Philostratus wrote, "See cupids are gathering apples: and if there are many of them, do not be surprised...The cupids' quiver are studded with gold, and golden also are the darts in them...they have hung their quivers on the apple trees; and in the grass lie their broidered mantles...Ah, the baskets into which they gather their apples!"

Prompt: ヴィーナスへの奉献に関して、どのように原材料が議論されていますか？英語で出力して下さい。


section

ヴィーナスへの奉献

List of works by TitianThe Feast of Venus

Prompt: ヴィーナスへの奉献に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

List of works by TitianThe Feast of Venus

Prompt: ヴィーナスへの奉献の参照を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

List of works by TitianThe Feast of Venus

Prompt: ヴィーナスへの奉献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

ヴィーナスへの奉献

List of works by TitianThe Feast of Venus

Prompt: ヴィーナスへの奉献に関して、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

ヴィーナスへの奉献

Hope, Charles & Fletcher, Jennifer & Dunkerton, Jill. Titian. National Gallery London, 2003.  Kaminski, Marion. Titian. Ullmann, 2007. Phillips, Claude. The Earlier Work of Titian. Bastian Books, 2008.   Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969.  Stefano Zuffi, Tiziano, Mondadori Arte, Milano 2008.

Prompt: ヴィーナスへの奉献に焦点を当てて、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

ヴィーナスへの奉献

Hope, Charles & Fletcher, Jennifer & Dunkerton, Jill. Titian. National Gallery London, 2003.  Kaminski, Marion. Titian. Ullmann, 2007. Phillips, Claude. The Earlier Work of Titian. Bastian Books, 2008.   Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969.  Stefano Zuffi, Tiziano, Mondadori Arte, Milano 2008.

Prompt: ヴィーナスへの奉献の情報源を説明してください。英語で出力して下さい。


section

ヴィーナスへの奉献

Hope, Charles & Fletcher, Jennifer & Dunkerton, Jill. Titian. National Gallery London, 2003.  Kaminski, Marion. Titian. Ullmann, 2007. Phillips, Claude. The Earlier Work of Titian. Bastian Books, 2008.   Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969.  Stefano Zuffi, Tiziano, Mondadori Arte, Milano 2008.

Prompt: ヴィーナスへの奉献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

ヴィーナスへの奉献

Hope, Charles & Fletcher, Jennifer & Dunkerton, Jill. Titian. National Gallery London, 2003.  Kaminski, Marion. Titian. Ullmann, 2007. Phillips, Claude. The Earlier Work of Titian. Bastian Books, 2008.   Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969.  Stefano Zuffi, Tiziano, Mondadori Arte, Milano 2008.

Prompt: ヴィーナスへの奉献に関して、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

聖三位一体 (ボッティチェッリ)

The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist,  or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493. It is now in the Courtauld Gallery in London.  It is now thought the painting was begun much earlier, perhaps in the 1470s, and was worked on during three decades. It was commissioned by the Arte dei Medici e degli Speziali  for the church of Santa Elisabetta delle Convertite in Florence, a church institution housing former prostitutes or fallen women, who had converted from their previous life, and whose patron saint was Mary Magdalene  The traditional Italian name means the altarpiece or "panel"  of the "converted ones" .A restoration of the painting was completed in 2021.

Prompt: 聖三位一体 (ボッティチェッリ)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。

Courtauld Gallery
Florence
Trinity
Mary Magdalene
Sandro Botticelli
Santa Elisabetta delle Convertite
John the Baptist


section

聖三位一体 (ボッティチェッリ)

The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist,  or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493. It is now in the Courtauld Gallery in London.  It is now thought the painting was begun much earlier, perhaps in the 1470s, and was worked on during three decades. It was commissioned by the Arte dei Medici e degli Speziali  for the church of Santa Elisabetta delle Convertite in Florence, a church institution housing former prostitutes or fallen women, who had converted from their previous life, and whose patron saint was Mary Magdalene  The traditional Italian name means the altarpiece or "panel"  of the "converted ones" .A restoration of the painting was completed in 2021.

Prompt: 聖三位一体 (ボッティチェッリ)の抽象を説明してください。英語で出力して下さい。

Courtauld Gallery
Florence
Trinity
Mary Magdalene
Sandro Botticelli
Santa Elisabetta delle Convertite
John the Baptist


section

聖三位一体 (ボッティチェッリ)

The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist,  or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493. It is now in the Courtauld Gallery in London.  It is now thought the painting was begun much earlier, perhaps in the 1470s, and was worked on during three decades. It was commissioned by the Arte dei Medici e degli Speziali  for the church of Santa Elisabetta delle Convertite in Florence, a church institution housing former prostitutes or fallen women, who had converted from their previous life, and whose patron saint was Mary Magdalene  The traditional Italian name means the altarpiece or "panel"  of the "converted ones" .A restoration of the painting was completed in 2021.

Prompt: 聖三位一体 (ボッティチェッリ)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。

Courtauld Gallery
Florence
Trinity
Mary Magdalene
Sandro Botticelli
Santa Elisabetta delle Convertite
John the Baptist


section

聖三位一体 (ボッティチェッリ)

The Pala delle Convertite or The Trinity with Saints Mary Magdalen and John the Baptist,  or Holy Trinity, is an altarpiece by the Italian Renaissance painter Sandro Botticelli and his workshop, traditionally dated to c. 1491–1493. It is now in the Courtauld Gallery in London.  It is now thought the painting was begun much earlier, perhaps in the 1470s, and was worked on during three decades. It was commissioned by the Arte dei Medici e degli Speziali  for the church of Santa Elisabetta delle Convertite in Florence, a church institution housing former prostitutes or fallen women, who had converted from their previous life, and whose patron saint was Mary Magdalene  The traditional Italian name means the altarpiece or "panel"  of the "converted ones" .A restoration of the painting was completed in 2021.

Prompt: 聖三位一体 (ボッティチェッリ)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。

Courtauld Gallery
Florence
Trinity
Mary Magdalene
Sandro Botticelli
Santa Elisabetta delle Convertite
John the Baptist


section

聖三位一体 (ボッティチェッリ)

The painting is in tempera on poplar panel. The main scene shows the Holy Trinity  within an mandorla  with seraphim. In the background is a blue sky within two rocky spurs, in front of which are Mary Magdalene, taken in an intense praying posture, and St. John the Baptist, patron saint of Florence, who, as usual in the pictures of the period, is pointing to the centre of the composition. The figure of Magdalene resembles the rather earlier "Magdalene Penitent" by Donatello, now usually dated to about 1440, and that by Desiderio da Settignano  in the church of Santa Trinita.There are stylistic disparities between the style of the two standing saints, suggesting they were painted at different times.

Prompt: 聖三位一体 (ボッティチェッリ)に焦点を当てて、そのメインシーンを説明してください。英語で出力して下さい。

Desiderio da Settignano
Donatello
Florence
Trinity
Mary Magdalene
Santa Trinita
John the Baptist


section

聖三位一体 (ボッティチェッリ)

The painting is in tempera on poplar panel. The main scene shows the Holy Trinity  within an mandorla  with seraphim. In the background is a blue sky within two rocky spurs, in front of which are Mary Magdalene, taken in an intense praying posture, and St. John the Baptist, patron saint of Florence, who, as usual in the pictures of the period, is pointing to the centre of the composition. The figure of Magdalene resembles the rather earlier "Magdalene Penitent" by Donatello, now usually dated to about 1440, and that by Desiderio da Settignano  in the church of Santa Trinita.There are stylistic disparities between the style of the two standing saints, suggesting they were painted at different times.

Prompt: 聖三位一体 (ボッティチェッリ)のメインシーンを説明してください。英語で出力して下さい。

Desiderio da Settignano
Donatello
Florence
Trinity
Mary Magdalene
Santa Trinita
John the Baptist


section

聖三位一体 (ボッティチェッリ)

The painting is in tempera on poplar panel. The main scene shows the Holy Trinity  within an mandorla  with seraphim. In the background is a blue sky within two rocky spurs, in front of which are Mary Magdalene, taken in an intense praying posture, and St. John the Baptist, patron saint of Florence, who, as usual in the pictures of the period, is pointing to the centre of the composition. The figure of Magdalene resembles the rather earlier "Magdalene Penitent" by Donatello, now usually dated to about 1440, and that by Desiderio da Settignano  in the church of Santa Trinita.There are stylistic disparities between the style of the two standing saints, suggesting they were painted at different times.

Prompt: 聖三位一体 (ボッティチェッリ)はどのようにメインシーンを説明していますか？英語で出力して下さい。

Desiderio da Settignano
Donatello
Florence
Trinity
Mary Magdalene
Santa Trinita
John the Baptist


section

聖三位一体 (ボッティチェッリ)

The painting is in tempera on poplar panel. The main scene shows the Holy Trinity  within an mandorla  with seraphim. In the background is a blue sky within two rocky spurs, in front of which are Mary Magdalene, taken in an intense praying posture, and St. John the Baptist, patron saint of Florence, who, as usual in the pictures of the period, is pointing to the centre of the composition. The figure of Magdalene resembles the rather earlier "Magdalene Penitent" by Donatello, now usually dated to about 1440, and that by Desiderio da Settignano  in the church of Santa Trinita.There are stylistic disparities between the style of the two standing saints, suggesting they were painted at different times.

Prompt: 聖三位一体 (ボッティチェッリ)に関して、どのようにメインシーンが議論されていますか？英語で出力して下さい。

Desiderio da Settignano
Donatello
Florence
Trinity
Mary Magdalene
Santa Trinita
John the Baptist


section

聖三位一体 (ボッティチェッリ)

In the lower part, at a much smaller scale, are Tobias and the Angel , who is holding the fish that, in the Biblical tale, he had been told by the angel to capture in order to save his father . They walk past, ignoring the main scene above them; there are a number of paintings where the pair intrude on other religious scenes.  Their presence is no doubt because Raphael was the patron saint of the Arte dei Medici e degli Speziali. Modern imaging has revealed that originally this pair were on the right behind the cross in a landscape background that was later overpainted. They are painted in a somewhat different  style than the large figures above; the heads of the seraphim in particular are considered to be painted by the workshop.   It is now thought that the first figures of Tobias and the Angel were painted by Filippino Lippi, Botticelli's main assistant in the earlier period, while the relocated pair we see now are probably by Botticelli himself, in the 1490s.

Prompt: 聖三位一体 (ボッティチェッリ)に焦点を当てて、そのトビアスと天使を説明してください。英語で出力して下さい。

Filippino Lippi
Tobias
Tobias and the Angel


section

聖三位一体 (ボッティチェッリ)

In the lower part, at a much smaller scale, are Tobias and the Angel , who is holding the fish that, in the Biblical tale, he had been told by the angel to capture in order to save his father . They walk past, ignoring the main scene above them; there are a number of paintings where the pair intrude on other religious scenes.  Their presence is no doubt because Raphael was the patron saint of the Arte dei Medici e degli Speziali. Modern imaging has revealed that originally this pair were on the right behind the cross in a landscape background that was later overpainted. They are painted in a somewhat different  style than the large figures above; the heads of the seraphim in particular are considered to be painted by the workshop.   It is now thought that the first figures of Tobias and the Angel were painted by Filippino Lippi, Botticelli's main assistant in the earlier period, while the relocated pair we see now are probably by Botticelli himself, in the 1490s.

Prompt: 聖三位一体 (ボッティチェッリ)のトビアスと天使を説明してください。英語で出力して下さい。

Filippino Lippi
Tobias
Tobias and the Angel


section

聖三位一体 (ボッティチェッリ)

In the lower part, at a much smaller scale, are Tobias and the Angel , who is holding the fish that, in the Biblical tale, he had been told by the angel to capture in order to save his father . They walk past, ignoring the main scene above them; there are a number of paintings where the pair intrude on other religious scenes.  Their presence is no doubt because Raphael was the patron saint of the Arte dei Medici e degli Speziali. Modern imaging has revealed that originally this pair were on the right behind the cross in a landscape background that was later overpainted. They are painted in a somewhat different  style than the large figures above; the heads of the seraphim in particular are considered to be painted by the workshop.   It is now thought that the first figures of Tobias and the Angel were painted by Filippino Lippi, Botticelli's main assistant in the earlier period, while the relocated pair we see now are probably by Botticelli himself, in the 1490s.

Prompt: 聖三位一体 (ボッティチェッリ)はどのようにトビアスと天使を説明していますか？英語で出力して下さい。

Filippino Lippi
Tobias
Tobias and the Angel


section

聖三位一体 (ボッティチェッリ)

In the lower part, at a much smaller scale, are Tobias and the Angel , who is holding the fish that, in the Biblical tale, he had been told by the angel to capture in order to save his father . They walk past, ignoring the main scene above them; there are a number of paintings where the pair intrude on other religious scenes.  Their presence is no doubt because Raphael was the patron saint of the Arte dei Medici e degli Speziali. Modern imaging has revealed that originally this pair were on the right behind the cross in a landscape background that was later overpainted. They are painted in a somewhat different  style than the large figures above; the heads of the seraphim in particular are considered to be painted by the workshop.   It is now thought that the first figures of Tobias and the Angel were painted by Filippino Lippi, Botticelli's main assistant in the earlier period, while the relocated pair we see now are probably by Botticelli himself, in the 1490s.

Prompt: 聖三位一体 (ボッティチェッリ)に関して、どのようにトビアスと天使が議論されていますか？英語で出力して下さい。

Filippino Lippi
Tobias
Tobias and the Angel


section

聖三位一体 (ボッティチェッリ)

Prompt: 聖三位一体 (ボッティチェッリ)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

聖三位一体 (ボッティチェッリ)

Prompt: 聖三位一体 (ボッティチェッリ)の参照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 (ボッティチェッリ)

Prompt: 聖三位一体 (ボッティチェッリ)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

聖三位一体 (ボッティチェッリ)

Prompt: 聖三位一体 (ボッティチェッリ)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

聖三位一体 (ボッティチェッリ)

Prompt: 聖三位一体 (ボッティチェッリ)に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

聖三位一体 (ボッティチェッリ)

Prompt: 聖三位一体 (ボッティチェッリ)の参考文献を説明してください。英語で出力して下さい。


section

聖三位一体 (ボッティチェッリ)

Prompt: 聖三位一体 (ボッティチェッリ)はどのように参考文献を説明していますか？英語で出力して下さい。


section

聖三位一体 (ボッティチェッリ)

Prompt: 聖三位一体 (ボッティチェッリ)に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

ダルムシュタットの聖母

}}The Darmstadt Madonna  is an oil painting by the German-Swiss artist Hans Holbein the Younger. Completed ca. 1526—1530 in Basel, the work shows the Bürgermeister of Basel Jakob Meyer zum Hasen, his first wife , his current wife, and his daughter grouped around the Madonna and infant Jesus.The meaning of the two other male figures on the left side  is, like the overall iconography of the image, not entirely clear. Franny Moyle writes that the man on the Madonna's right is Meyer, and "[t]he boy and baby may be a presentation of Meyer's two deceased sons...." The image testified to the resolutely Catholic faith of the Bürgermeister, who actively opposed the Reformation.Holbein's Darmstadt Madonna was influenced by Italian Renaissance religious painting; Franny Moyle writes that it was influenced by Andrea Mantegna's 1496 Madonna della Vittoria, and that the two paintings' "perspectival approach ... is almost identical." The Darmstadt Madonna may also contain elements of Netherlandish portrait painting.Earlier located in Darmstadt, hence its title, the work was on loan to the Städelschen Kunstinstitut in Frankfurt am Main from 2004 to 2011.In 2012, the painting was put on display in the Johanniterkirche in Schwäbisch Hall as part of the permanent exhibition of the Old Masters in the Würth Collection.

Prompt: ダルムシュタットの聖母に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Basel
Darmstadt
Frankfurt
Franny Moyle
Hans Holbein the Younger
Jakob Meyer zum Hasen
Madonna della Vittoria
Old Master
Reformation
Schwäbisch Hall
Städel


section

ダルムシュタットの聖母

}}The Darmstadt Madonna  is an oil painting by the German-Swiss artist Hans Holbein the Younger. Completed ca. 1526—1530 in Basel, the work shows the Bürgermeister of Basel Jakob Meyer zum Hasen, his first wife , his current wife, and his daughter grouped around the Madonna and infant Jesus.The meaning of the two other male figures on the left side  is, like the overall iconography of the image, not entirely clear. Franny Moyle writes that the man on the Madonna's right is Meyer, and "[t]he boy and baby may be a presentation of Meyer's two deceased sons...." The image testified to the resolutely Catholic faith of the Bürgermeister, who actively opposed the Reformation.Holbein's Darmstadt Madonna was influenced by Italian Renaissance religious painting; Franny Moyle writes that it was influenced by Andrea Mantegna's 1496 Madonna della Vittoria, and that the two paintings' "perspectival approach ... is almost identical." The Darmstadt Madonna may also contain elements of Netherlandish portrait painting.Earlier located in Darmstadt, hence its title, the work was on loan to the Städelschen Kunstinstitut in Frankfurt am Main from 2004 to 2011.In 2012, the painting was put on display in the Johanniterkirche in Schwäbisch Hall as part of the permanent exhibition of the Old Masters in the Würth Collection.

Prompt: ダルムシュタットの聖母の抽象を説明してください。英語で出力して下さい。

Andrea Mantegna
Basel
Darmstadt
Frankfurt
Franny Moyle
Hans Holbein the Younger
Jakob Meyer zum Hasen
Madonna della Vittoria
Old Master
Reformation
Schwäbisch Hall
Städel


section

ダルムシュタットの聖母

}}The Darmstadt Madonna  is an oil painting by the German-Swiss artist Hans Holbein the Younger. Completed ca. 1526—1530 in Basel, the work shows the Bürgermeister of Basel Jakob Meyer zum Hasen, his first wife , his current wife, and his daughter grouped around the Madonna and infant Jesus.The meaning of the two other male figures on the left side  is, like the overall iconography of the image, not entirely clear. Franny Moyle writes that the man on the Madonna's right is Meyer, and "[t]he boy and baby may be a presentation of Meyer's two deceased sons...." The image testified to the resolutely Catholic faith of the Bürgermeister, who actively opposed the Reformation.Holbein's Darmstadt Madonna was influenced by Italian Renaissance religious painting; Franny Moyle writes that it was influenced by Andrea Mantegna's 1496 Madonna della Vittoria, and that the two paintings' "perspectival approach ... is almost identical." The Darmstadt Madonna may also contain elements of Netherlandish portrait painting.Earlier located in Darmstadt, hence its title, the work was on loan to the Städelschen Kunstinstitut in Frankfurt am Main from 2004 to 2011.In 2012, the painting was put on display in the Johanniterkirche in Schwäbisch Hall as part of the permanent exhibition of the Old Masters in the Würth Collection.

Prompt: ダルムシュタットの聖母はどのように抽象を説明していますか？英語で出力して下さい。

Andrea Mantegna
Basel
Darmstadt
Frankfurt
Franny Moyle
Hans Holbein the Younger
Jakob Meyer zum Hasen
Madonna della Vittoria
Old Master
Reformation
Schwäbisch Hall
Städel


section

ダルムシュタットの聖母

}}The Darmstadt Madonna  is an oil painting by the German-Swiss artist Hans Holbein the Younger. Completed ca. 1526—1530 in Basel, the work shows the Bürgermeister of Basel Jakob Meyer zum Hasen, his first wife , his current wife, and his daughter grouped around the Madonna and infant Jesus.The meaning of the two other male figures on the left side  is, like the overall iconography of the image, not entirely clear. Franny Moyle writes that the man on the Madonna's right is Meyer, and "[t]he boy and baby may be a presentation of Meyer's two deceased sons...." The image testified to the resolutely Catholic faith of the Bürgermeister, who actively opposed the Reformation.Holbein's Darmstadt Madonna was influenced by Italian Renaissance religious painting; Franny Moyle writes that it was influenced by Andrea Mantegna's 1496 Madonna della Vittoria, and that the two paintings' "perspectival approach ... is almost identical." The Darmstadt Madonna may also contain elements of Netherlandish portrait painting.Earlier located in Darmstadt, hence its title, the work was on loan to the Städelschen Kunstinstitut in Frankfurt am Main from 2004 to 2011.In 2012, the painting was put on display in the Johanniterkirche in Schwäbisch Hall as part of the permanent exhibition of the Old Masters in the Würth Collection.

Prompt: ダルムシュタットの聖母に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Andrea Mantegna
Basel
Darmstadt
Frankfurt
Franny Moyle
Hans Holbein the Younger
Jakob Meyer zum Hasen
Madonna della Vittoria
Old Master
Reformation
Schwäbisch Hall
Städel


section

ダルムシュタットの聖母

List of paintings by Hans Holbein the Younger List of most expensive paintings

Prompt: ダルムシュタットの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ダルムシュタットの聖母

List of paintings by Hans Holbein the Younger List of most expensive paintings

Prompt: ダルムシュタットの聖母の参照を説明してください。英語で出力して下さい。


section

ダルムシュタットの聖母

List of paintings by Hans Holbein the Younger List of most expensive paintings

Prompt: ダルムシュタットの聖母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

ダルムシュタットの聖母

List of paintings by Hans Holbein the Younger List of most expensive paintings

Prompt: ダルムシュタットの聖母に関して、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

ダルムシュタットの聖母

All of the following texts are in German: Hans Holbeins Madonna im Städel. Der Bürgermeister, sein Maler und seine Familie. Exhibit Catalog, Petersberg 2004, .  Oskar Bätschmann, Pascal Griener: Hans Holbein d. J. Die Darmstädter Madonna. Original gegen Fälschung. Fischer, Frankfurt 1998.  Christl Auge: Zur Deutung der Darmstädter Madonna. ng, Frankfurt am Main 1993.  Günther Grundmann: Die Darmstädter Madonna. Eduard Roether, Darmstadt 1959. Theodor Gaedertz: Hans Holbein der Jüngere und seine Madonna des Bürgermeisters Meyer. Mit den Abbildungen der Darmstädter und der Dresdener Madonna. Bolhoevener, Lübeck 1872. Gustav Theodor Fechner: Ueber die Aechtheitsfrage der Holbein’schen Madonna: Discussion und Acten. Breitkopf & Härtel, Leipzig 1871. Dr. Georg Haupt: Der Darmstadter Museumsstreit. Eine Verteidigungsschrift, Jena, Diederichs 1904.

Prompt: ダルムシュタットの聖母に焦点を当てて、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。

Darmstadt
Frankfurt
Günther Grundmann
Städel


section

ダルムシュタットの聖母

All of the following texts are in German: Hans Holbeins Madonna im Städel. Der Bürgermeister, sein Maler und seine Familie. Exhibit Catalog, Petersberg 2004, .  Oskar Bätschmann, Pascal Griener: Hans Holbein d. J. Die Darmstädter Madonna. Original gegen Fälschung. Fischer, Frankfurt 1998.  Christl Auge: Zur Deutung der Darmstädter Madonna. ng, Frankfurt am Main 1993.  Günther Grundmann: Die Darmstädter Madonna. Eduard Roether, Darmstadt 1959. Theodor Gaedertz: Hans Holbein der Jüngere und seine Madonna des Bürgermeisters Meyer. Mit den Abbildungen der Darmstädter und der Dresdener Madonna. Bolhoevener, Lübeck 1872. Gustav Theodor Fechner: Ueber die Aechtheitsfrage der Holbein’schen Madonna: Discussion und Acten. Breitkopf & Härtel, Leipzig 1871. Dr. Georg Haupt: Der Darmstadter Museumsstreit. Eine Verteidigungsschrift, Jena, Diederichs 1904.

Prompt: ダルムシュタットの聖母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。

Darmstadt
Frankfurt
Günther Grundmann
Städel


section

ダルムシュタットの聖母

All of the following texts are in German: Hans Holbeins Madonna im Städel. Der Bürgermeister, sein Maler und seine Familie. Exhibit Catalog, Petersberg 2004, .  Oskar Bätschmann, Pascal Griener: Hans Holbein d. J. Die Darmstädter Madonna. Original gegen Fälschung. Fischer, Frankfurt 1998.  Christl Auge: Zur Deutung der Darmstädter Madonna. ng, Frankfurt am Main 1993.  Günther Grundmann: Die Darmstädter Madonna. Eduard Roether, Darmstadt 1959. Theodor Gaedertz: Hans Holbein der Jüngere und seine Madonna des Bürgermeisters Meyer. Mit den Abbildungen der Darmstädter und der Dresdener Madonna. Bolhoevener, Lübeck 1872. Gustav Theodor Fechner: Ueber die Aechtheitsfrage der Holbein’schen Madonna: Discussion und Acten. Breitkopf & Härtel, Leipzig 1871. Dr. Georg Haupt: Der Darmstadter Museumsstreit. Eine Verteidigungsschrift, Jena, Diederichs 1904.

Prompt: ダルムシュタットの聖母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。

Darmstadt
Frankfurt
Günther Grundmann
Städel


section

ダルムシュタットの聖母

All of the following texts are in German: Hans Holbeins Madonna im Städel. Der Bürgermeister, sein Maler und seine Familie. Exhibit Catalog, Petersberg 2004, .  Oskar Bätschmann, Pascal Griener: Hans Holbein d. J. Die Darmstädter Madonna. Original gegen Fälschung. Fischer, Frankfurt 1998.  Christl Auge: Zur Deutung der Darmstädter Madonna. ng, Frankfurt am Main 1993.  Günther Grundmann: Die Darmstädter Madonna. Eduard Roether, Darmstadt 1959. Theodor Gaedertz: Hans Holbein der Jüngere und seine Madonna des Bürgermeisters Meyer. Mit den Abbildungen der Darmstädter und der Dresdener Madonna. Bolhoevener, Lübeck 1872. Gustav Theodor Fechner: Ueber die Aechtheitsfrage der Holbein’schen Madonna: Discussion und Acten. Breitkopf & Härtel, Leipzig 1871. Dr. Georg Haupt: Der Darmstadter Museumsstreit. Eine Verteidigungsschrift, Jena, Diederichs 1904.

Prompt: ダルムシュタットの聖母に関して、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。

Darmstadt
Frankfurt
Günther Grundmann
Städel


section

ラオコーン (エル・グレコ)

The ocoön is an oil painting created between 1610 and 1614 by Greek painter El Greco. It is part of a collection at the National Gallery of Art in Washington, D.C..The painting depicts the Greek and Roman mythological story of the deaths of ocoön, a Trojan priest of Poseidon, and his two sons Antiphantes and Thymbraeus. ocoön and his sons were strangled by sea serpents, a punishment sent by the gods after ocoön attempted to warn his countrymen about the Trojan horse. Although inspired by the recently discovered monumental Hellenistic sculpture ocoön and His Sons in Rome, ocoön is a product of Mannerism, an artistic movement originating in Italy during the 16th century that countered the artistic ideals of the Renaissance. El Greco's painting deliberately breaks away from the balance and harmony of Renaissance art with its strong emotional atmosphere and distorted figures.

Prompt: ラオコーン (エル・グレコ)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。

El Greco
Mannerism
National Gallery of Art
Renaissance
Washington, D.C.


section

ラオコーン (エル・グレコ)

The ocoön is an oil painting created between 1610 and 1614 by Greek painter El Greco. It is part of a collection at the National Gallery of Art in Washington, D.C..The painting depicts the Greek and Roman mythological story of the deaths of ocoön, a Trojan priest of Poseidon, and his two sons Antiphantes and Thymbraeus. ocoön and his sons were strangled by sea serpents, a punishment sent by the gods after ocoön attempted to warn his countrymen about the Trojan horse. Although inspired by the recently discovered monumental Hellenistic sculpture ocoön and His Sons in Rome, ocoön is a product of Mannerism, an artistic movement originating in Italy during the 16th century that countered the artistic ideals of the Renaissance. El Greco's painting deliberately breaks away from the balance and harmony of Renaissance art with its strong emotional atmosphere and distorted figures.

Prompt: ラオコーン (エル・グレコ)の抽象を説明してください。英語で出力して下さい。

El Greco
Mannerism
National Gallery of Art
Renaissance
Washington, D.C.


section

ラオコーン (エル・グレコ)

The ocoön is an oil painting created between 1610 and 1614 by Greek painter El Greco. It is part of a collection at the National Gallery of Art in Washington, D.C..The painting depicts the Greek and Roman mythological story of the deaths of ocoön, a Trojan priest of Poseidon, and his two sons Antiphantes and Thymbraeus. ocoön and his sons were strangled by sea serpents, a punishment sent by the gods after ocoön attempted to warn his countrymen about the Trojan horse. Although inspired by the recently discovered monumental Hellenistic sculpture ocoön and His Sons in Rome, ocoön is a product of Mannerism, an artistic movement originating in Italy during the 16th century that countered the artistic ideals of the Renaissance. El Greco's painting deliberately breaks away from the balance and harmony of Renaissance art with its strong emotional atmosphere and distorted figures.

Prompt: ラオコーン (エル・グレコ)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。

El Greco
Mannerism
National Gallery of Art
Renaissance
Washington, D.C.


section

ラオコーン (エル・グレコ)

The ocoön is an oil painting created between 1610 and 1614 by Greek painter El Greco. It is part of a collection at the National Gallery of Art in Washington, D.C..The painting depicts the Greek and Roman mythological story of the deaths of ocoön, a Trojan priest of Poseidon, and his two sons Antiphantes and Thymbraeus. ocoön and his sons were strangled by sea serpents, a punishment sent by the gods after ocoön attempted to warn his countrymen about the Trojan horse. Although inspired by the recently discovered monumental Hellenistic sculpture ocoön and His Sons in Rome, ocoön is a product of Mannerism, an artistic movement originating in Italy during the 16th century that countered the artistic ideals of the Renaissance. El Greco's painting deliberately breaks away from the balance and harmony of Renaissance art with its strong emotional atmosphere and distorted figures.

Prompt: ラオコーン (エル・グレコ)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。

El Greco
Mannerism
National Gallery of Art
Renaissance
Washington, D.C.


section

ラオコーン (エル・グレコ)

El Greco's oil painting of ocoön represents the influence of both classical mythology and artistry.

Prompt: ラオコーン (エル・グレコ)に焦点を当てて、そのインスピレーションを説明してください。英語で出力して下さい。


section

ラオコーン (エル・グレコ)

El Greco's oil painting of ocoön represents the influence of both classical mythology and artistry.

Prompt: ラオコーン (エル・グレコ)のインスピレーションを説明してください。英語で出力して下さい。


section

ラオコーン (エル・グレコ)

El Greco's oil painting of ocoön represents the influence of both classical mythology and artistry.

Prompt: ラオコーン (エル・グレコ)はどのようにインスピレーションを説明していますか？英語で出力して下さい。


section

ラオコーン (エル・グレコ)

El Greco's oil painting of ocoön represents the influence of both classical mythology and artistry.

Prompt: ラオコーン (エル・グレコ)に関して、どのようにインスピレーションが議論されていますか？英語で出力して下さい。


section

ラオコーン (エル・グレコ)

After his initial training as a Byzantine icon painter in his homeland Crete, El Greco studied in Venice and Rome, where he experimented with the Venetian "colorito" and Renaissance compositional techniques. However, El Greco moved to Spain in 1576, and he settled in Toledo in 1577 as a church painter. In Toledo, El Greco honed his eclectic style, becoming a leading artist in the Mannerist movement and inaugurating the Spanish artistic Renaissance. Both of these styles are evident within ocoön, El Greco's sole painting of a mythological subject. While classical in subject, ocoön reflects the political, religious, and artistic transformations of post-Renaissance society.Although El Greco's intention and message are debated, ocoön reflects a clear Mannerist influence. Mannerism, which emerged in Italy during the 1520s, reflected the religious turmoil of the Protestant Reformation. The chaos and spiritual uncertainty of the era caused Mannerist painters to reject the balance and proportionality of High Renaissance artists like Michelangelo and instead portray elongated figures. Mannerism reached its height with El Greco, as seen in the distorted, contorted figures of ocoön and his sons and the hyper elegance of the gods on the right.The infusion of intense religious themes, characteristic of El Greco's work during his Spanish Period, can be seen in ocoön. While the painting may be an allusion to local tradition or a commentary on the Reformation, ocoön contains an undeniable spiritual atmosphere. The torturous figures against the terrifying background convey an intense emotional atmosphere. The pairing of profound religious themes with Mannerist features would become a defining part of Spanish Renaissance art.

Prompt: ラオコーン (エル・グレコ)に焦点を当てて、そのスタイルを説明してください。英語で出力して下さい。

El Greco
Mannerism
Renaissance
Spanish Renaissance


section

ラオコーン (エル・グレコ)

After his initial training as a Byzantine icon painter in his homeland Crete, El Greco studied in Venice and Rome, where he experimented with the Venetian "colorito" and Renaissance compositional techniques. However, El Greco moved to Spain in 1576, and he settled in Toledo in 1577 as a church painter. In Toledo, El Greco honed his eclectic style, becoming a leading artist in the Mannerist movement and inaugurating the Spanish artistic Renaissance. Both of these styles are evident within ocoön, El Greco's sole painting of a mythological subject. While classical in subject, ocoön reflects the political, religious, and artistic transformations of post-Renaissance society.Although El Greco's intention and message are debated, ocoön reflects a clear Mannerist influence. Mannerism, which emerged in Italy during the 1520s, reflected the religious turmoil of the Protestant Reformation. The chaos and spiritual uncertainty of the era caused Mannerist painters to reject the balance and proportionality of High Renaissance artists like Michelangelo and instead portray elongated figures. Mannerism reached its height with El Greco, as seen in the distorted, contorted figures of ocoön and his sons and the hyper elegance of the gods on the right.The infusion of intense religious themes, characteristic of El Greco's work during his Spanish Period, can be seen in ocoön. While the painting may be an allusion to local tradition or a commentary on the Reformation, ocoön contains an undeniable spiritual atmosphere. The torturous figures against the terrifying background convey an intense emotional atmosphere. The pairing of profound religious themes with Mannerist features would become a defining part of Spanish Renaissance art.

Prompt: ラオコーン (エル・グレコ)のスタイルを説明してください。英語で出力して下さい。

El Greco
Mannerism
Renaissance
Spanish Renaissance


section

ラオコーン (エル・グレコ)

After his initial training as a Byzantine icon painter in his homeland Crete, El Greco studied in Venice and Rome, where he experimented with the Venetian "colorito" and Renaissance compositional techniques. However, El Greco moved to Spain in 1576, and he settled in Toledo in 1577 as a church painter. In Toledo, El Greco honed his eclectic style, becoming a leading artist in the Mannerist movement and inaugurating the Spanish artistic Renaissance. Both of these styles are evident within ocoön, El Greco's sole painting of a mythological subject. While classical in subject, ocoön reflects the political, religious, and artistic transformations of post-Renaissance society.Although El Greco's intention and message are debated, ocoön reflects a clear Mannerist influence. Mannerism, which emerged in Italy during the 1520s, reflected the religious turmoil of the Protestant Reformation. The chaos and spiritual uncertainty of the era caused Mannerist painters to reject the balance and proportionality of High Renaissance artists like Michelangelo and instead portray elongated figures. Mannerism reached its height with El Greco, as seen in the distorted, contorted figures of ocoön and his sons and the hyper elegance of the gods on the right.The infusion of intense religious themes, characteristic of El Greco's work during his Spanish Period, can be seen in ocoön. While the painting may be an allusion to local tradition or a commentary on the Reformation, ocoön contains an undeniable spiritual atmosphere. The torturous figures against the terrifying background convey an intense emotional atmosphere. The pairing of profound religious themes with Mannerist features would become a defining part of Spanish Renaissance art.

Prompt: ラオコーン (エル・グレコ)はどのようにスタイルを説明していますか？英語で出力して下さい。

El Greco
Mannerism
Renaissance
Spanish Renaissance


section

ラオコーン (エル・グレコ)

After his initial training as a Byzantine icon painter in his homeland Crete, El Greco studied in Venice and Rome, where he experimented with the Venetian "colorito" and Renaissance compositional techniques. However, El Greco moved to Spain in 1576, and he settled in Toledo in 1577 as a church painter. In Toledo, El Greco honed his eclectic style, becoming a leading artist in the Mannerist movement and inaugurating the Spanish artistic Renaissance. Both of these styles are evident within ocoön, El Greco's sole painting of a mythological subject. While classical in subject, ocoön reflects the political, religious, and artistic transformations of post-Renaissance society.Although El Greco's intention and message are debated, ocoön reflects a clear Mannerist influence. Mannerism, which emerged in Italy during the 1520s, reflected the religious turmoil of the Protestant Reformation. The chaos and spiritual uncertainty of the era caused Mannerist painters to reject the balance and proportionality of High Renaissance artists like Michelangelo and instead portray elongated figures. Mannerism reached its height with El Greco, as seen in the distorted, contorted figures of ocoön and his sons and the hyper elegance of the gods on the right.The infusion of intense religious themes, characteristic of El Greco's work during his Spanish Period, can be seen in ocoön. While the painting may be an allusion to local tradition or a commentary on the Reformation, ocoön contains an undeniable spiritual atmosphere. The torturous figures against the terrifying background convey an intense emotional atmosphere. The pairing of profound religious themes with Mannerist features would become a defining part of Spanish Renaissance art.

Prompt: ラオコーン (エル・グレコ)に関して、どのようにスタイルが議論されていますか？英語で出力して下さい。

El Greco
Mannerism
Renaissance
Spanish Renaissance


section

ラオコーン (エル・グレコ)

List of works by El Greco Mannerism Spanish Renaissance

Prompt: ラオコーン (エル・グレコ)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。

El Greco
List of works by El Greco
Mannerism
Renaissance
Spanish Renaissance


section

ラオコーン (エル・グレコ)

List of works by El Greco Mannerism Spanish Renaissance

Prompt: ラオコーン (エル・グレコ)の参照を説明してください。英語で出力して下さい。

El Greco
List of works by El Greco
Mannerism
Renaissance
Spanish Renaissance


section

ラオコーン (エル・グレコ)

List of works by El Greco Mannerism Spanish Renaissance

Prompt: ラオコーン (エル・グレコ)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。

El Greco
List of works by El Greco
Mannerism
Renaissance
Spanish Renaissance


section

ラオコーン (エル・グレコ)

List of works by El Greco Mannerism Spanish Renaissance

Prompt: ラオコーン (エル・グレコ)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。

El Greco
List of works by El Greco
Mannerism
Renaissance
Spanish Renaissance


section

ラオコーン (エル・グレコ)

"El Greco Biography." Web Gallery of Art. Web. 28 March 2010. <http://www.wga.hu/frames-e.html?/bio/g/greco_el/biograph.html>.Kleiner, Fred S., and Helen Gardner. Gardner's Art through the Ages: a Global History. Boston, MA: Thomson/Wadsworth, 2009. Print.ocoön. National Gallery of Art. Web. 28 March 2010. <https://web.archive.org/web/20150905221554/http://www.nga.gov/collection/gallery/gg29/gg29-33253.html>.ocoön. Web Gallery of Art. Web. 28 March 2010. <http://www.wga.hu/frames-e.html?/html/g/greco_el/19/1908grec.html>.Spielvogel, Jackson J. Western Civilization. Belmont, CA: Thomson Wadsworth, 2009. Print.

Prompt: ラオコーン (エル・グレコ)に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

ラオコーン (エル・グレコ)

"El Greco Biography." Web Gallery of Art. Web. 28 March 2010. <http://www.wga.hu/frames-e.html?/bio/g/greco_el/biograph.html>.Kleiner, Fred S., and Helen Gardner. Gardner's Art through the Ages: a Global History. Boston, MA: Thomson/Wadsworth, 2009. Print.ocoön. National Gallery of Art. Web. 28 March 2010. <https://web.archive.org/web/20150905221554/http://www.nga.gov/collection/gallery/gg29/gg29-33253.html>.ocoön. Web Gallery of Art. Web. 28 March 2010. <http://www.wga.hu/frames-e.html?/html/g/greco_el/19/1908grec.html>.Spielvogel, Jackson J. Western Civilization. Belmont, CA: Thomson Wadsworth, 2009. Print.

Prompt: ラオコーン (エル・グレコ)の参考文献を説明してください。英語で出力して下さい。


section

ラオコーン (エル・グレコ)

"El Greco Biography." Web Gallery of Art. Web. 28 March 2010. <http://www.wga.hu/frames-e.html?/bio/g/greco_el/biograph.html>.Kleiner, Fred S., and Helen Gardner. Gardner's Art through the Ages: a Global History. Boston, MA: Thomson/Wadsworth, 2009. Print.ocoön. National Gallery of Art. Web. 28 March 2010. <https://web.archive.org/web/20150905221554/http://www.nga.gov/collection/gallery/gg29/gg29-33253.html>.ocoön. Web Gallery of Art. Web. 28 March 2010. <http://www.wga.hu/frames-e.html?/html/g/greco_el/19/1908grec.html>.Spielvogel, Jackson J. Western Civilization. Belmont, CA: Thomson Wadsworth, 2009. Print.

Prompt: ラオコーン (エル・グレコ)はどのように参考文献を説明していますか？英語で出力して下さい。


section

ラオコーン (エル・グレコ)

"El Greco Biography." Web Gallery of Art. Web. 28 March 2010. <http://www.wga.hu/frames-e.html?/bio/g/greco_el/biograph.html>.Kleiner, Fred S., and Helen Gardner. Gardner's Art through the Ages: a Global History. Boston, MA: Thomson/Wadsworth, 2009. Print.ocoön. National Gallery of Art. Web. 28 March 2010. <https://web.archive.org/web/20150905221554/http://www.nga.gov/collection/gallery/gg29/gg29-33253.html>.ocoön. Web Gallery of Art. Web. 28 March 2010. <http://www.wga.hu/frames-e.html?/html/g/greco_el/19/1908grec.html>.Spielvogel, Jackson J. Western Civilization. Belmont, CA: Thomson Wadsworth, 2009. Print.

Prompt: ラオコーン (エル・グレコ)に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

According to Greco-Roman mythology, ocoön was a figure in the Trojan War waged between the Achaeans  and Trojans. ocoön's tale appears in many of the numerous classical texts concerning the Trojan War. In particular, ocoön is a minor character in the Aeneid by Roman poet Virgil and the Epic Cycle, a distinct collection of Ancient Greek epic poems.ocoön became involved in the war after Greek soldiers, frustrated by their unsuccessful ten-year siege of the city, devised a ruse to end the war: the hollow Trojan Horse filled with Greek soldiers. ocoön attempted to warn his compatriots that the horse was a "deadly fraud" instead of a gift, but the Trojans did not heed the warning. Believing that the war was over, the Trojans triumphantly brought the horse within their city walls and initiated a catastrophic series of events that brought about the sack of Troy.

Prompt: ラオコーン (エル・グレコ)の文脈で、古典神話とインスピレーションを説明してください。英語で出力して下さい。

Aeneid
Epic Cycle
Trojan War
Trojan Horse
Virgil


subsection

ラオコーン (エル・グレコ)

According to Greco-Roman mythology, ocoön was a figure in the Trojan War waged between the Achaeans  and Trojans. ocoön's tale appears in many of the numerous classical texts concerning the Trojan War. In particular, ocoön is a minor character in the Aeneid by Roman poet Virgil and the Epic Cycle, a distinct collection of Ancient Greek epic poems.ocoön became involved in the war after Greek soldiers, frustrated by their unsuccessful ten-year siege of the city, devised a ruse to end the war: the hollow Trojan Horse filled with Greek soldiers. ocoön attempted to warn his compatriots that the horse was a "deadly fraud" instead of a gift, but the Trojans did not heed the warning. Believing that the war was over, the Trojans triumphantly brought the horse within their city walls and initiated a catastrophic series of events that brought about the sack of Troy.

Prompt: ラオコーン (エル・グレコ)のインスピレーションに関する古典神話を説明してください。英語で出力して下さい。

Aeneid
Epic Cycle
Trojan War
Trojan Horse
Virgil


subsection

ラオコーン (エル・グレコ)

According to Greco-Roman mythology, ocoön was a figure in the Trojan War waged between the Achaeans  and Trojans. ocoön's tale appears in many of the numerous classical texts concerning the Trojan War. In particular, ocoön is a minor character in the Aeneid by Roman poet Virgil and the Epic Cycle, a distinct collection of Ancient Greek epic poems.ocoön became involved in the war after Greek soldiers, frustrated by their unsuccessful ten-year siege of the city, devised a ruse to end the war: the hollow Trojan Horse filled with Greek soldiers. ocoön attempted to warn his compatriots that the horse was a "deadly fraud" instead of a gift, but the Trojans did not heed the warning. Believing that the war was over, the Trojans triumphantly brought the horse within their city walls and initiated a catastrophic series of events that brought about the sack of Troy.

Prompt: ラオコーン (エル・グレコ)では、どのようにインスピレーションの古典神話が説明されていますか？英語で出力して下さい。

Aeneid
Epic Cycle
Trojan War
Trojan Horse
Virgil


subsection

ラオコーン (エル・グレコ)

According to Greco-Roman mythology, ocoön was a figure in the Trojan War waged between the Achaeans  and Trojans. ocoön's tale appears in many of the numerous classical texts concerning the Trojan War. In particular, ocoön is a minor character in the Aeneid by Roman poet Virgil and the Epic Cycle, a distinct collection of Ancient Greek epic poems.ocoön became involved in the war after Greek soldiers, frustrated by their unsuccessful ten-year siege of the city, devised a ruse to end the war: the hollow Trojan Horse filled with Greek soldiers. ocoön attempted to warn his compatriots that the horse was a "deadly fraud" instead of a gift, but the Trojans did not heed the warning. Believing that the war was over, the Trojans triumphantly brought the horse within their city walls and initiated a catastrophic series of events that brought about the sack of Troy.

Prompt: ラオコーン (エル・グレコ)のインスピレーションにおける古典神話の特徴を説明してください。英語で出力して下さい。

Aeneid
Epic Cycle
Trojan War
Trojan Horse
Virgil


subsection

ラオコーン (エル・グレコ)

ocoön was killed by divine execution from the gods, who supported the Greeks in the Trojan War and sent the sea serpents as punishment. ocoön's death is the subject of a famous monumental Hellenistic sculpture, known as ocoön and His Sons. The 1st-century BCE marble sculpture was created by Athenadoros, Agesander, and Polydoros of Rhodes. The ocoön group captures a climactic moment, as ocoön lets out an anguished yell and struggles beside his sons against Athena's sea serpents.  Unearthed in Rome in 1506, the sculpture enamored Renaissance artists with its idealized proportions and graceful, muscular figures. ocoön and his Sons most likely served as artistic inspiration for El Greco, who would depict the subject during his "Spanish Period".

Prompt: ラオコーン (エル・グレコ)の文脈で、クラシック彫刻とインスピレーションを説明してください。英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

ocoön was killed by divine execution from the gods, who supported the Greeks in the Trojan War and sent the sea serpents as punishment. ocoön's death is the subject of a famous monumental Hellenistic sculpture, known as ocoön and His Sons. The 1st-century BCE marble sculpture was created by Athenadoros, Agesander, and Polydoros of Rhodes. The ocoön group captures a climactic moment, as ocoön lets out an anguished yell and struggles beside his sons against Athena's sea serpents.  Unearthed in Rome in 1506, the sculpture enamored Renaissance artists with its idealized proportions and graceful, muscular figures. ocoön and his Sons most likely served as artistic inspiration for El Greco, who would depict the subject during his "Spanish Period".

Prompt: ラオコーン (エル・グレコ)のインスピレーションに関するクラシック彫刻を説明してください。英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

ocoön was killed by divine execution from the gods, who supported the Greeks in the Trojan War and sent the sea serpents as punishment. ocoön's death is the subject of a famous monumental Hellenistic sculpture, known as ocoön and His Sons. The 1st-century BCE marble sculpture was created by Athenadoros, Agesander, and Polydoros of Rhodes. The ocoön group captures a climactic moment, as ocoön lets out an anguished yell and struggles beside his sons against Athena's sea serpents.  Unearthed in Rome in 1506, the sculpture enamored Renaissance artists with its idealized proportions and graceful, muscular figures. ocoön and his Sons most likely served as artistic inspiration for El Greco, who would depict the subject during his "Spanish Period".

Prompt: ラオコーン (エル・グレコ)では、どのようにインスピレーションのクラシック彫刻が説明されていますか？英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

ocoön was killed by divine execution from the gods, who supported the Greeks in the Trojan War and sent the sea serpents as punishment. ocoön's death is the subject of a famous monumental Hellenistic sculpture, known as ocoön and His Sons. The 1st-century BCE marble sculpture was created by Athenadoros, Agesander, and Polydoros of Rhodes. The ocoön group captures a climactic moment, as ocoön lets out an anguished yell and struggles beside his sons against Athena's sea serpents.  Unearthed in Rome in 1506, the sculpture enamored Renaissance artists with its idealized proportions and graceful, muscular figures. ocoön and his Sons most likely served as artistic inspiration for El Greco, who would depict the subject during his "Spanish Period".

Prompt: ラオコーン (エル・グレコ)のインスピレーションにおけるクラシック彫刻の特徴を説明してください。英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

El Greco's version of the classical subject captures the last dying struggle of ocoön and his sons. ocoön, the central figure of the painting, lies down in agony on the undulating, dark rocks of the foreground.  Sprawled against the foreshortened, dead body of one of his sons, ocoön clings to life as a serpent bites his head. On the left, ocoön's standing son contorts in pain, writhing as a serpent swoops in towards his abdomen. Flanking the scene on the right are Apollo and Artemis, who watch the grisly scene unfold. An unfinished figure consisting only of a head and leg also appears on the right.El Greco distorted the rules of proportion by portraying the mythological characters as elongated, contorted figures. ocoön sprawls in a strange position, unnaturally stretching out his leg in agony toward the arched, straining body of his son.  The distorted figures, with their murky yellow and green coloration, infuse the scene with a sense of suffering and turmoil. The dark, sinister rocks of the foreground add to the intense emotional atmosphere.

Prompt: ラオコーン (エル・グレコ)の文脈で、前景とインスピレーションを説明してください。英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

El Greco's version of the classical subject captures the last dying struggle of ocoön and his sons. ocoön, the central figure of the painting, lies down in agony on the undulating, dark rocks of the foreground.  Sprawled against the foreshortened, dead body of one of his sons, ocoön clings to life as a serpent bites his head. On the left, ocoön's standing son contorts in pain, writhing as a serpent swoops in towards his abdomen. Flanking the scene on the right are Apollo and Artemis, who watch the grisly scene unfold. An unfinished figure consisting only of a head and leg also appears on the right.El Greco distorted the rules of proportion by portraying the mythological characters as elongated, contorted figures. ocoön sprawls in a strange position, unnaturally stretching out his leg in agony toward the arched, straining body of his son.  The distorted figures, with their murky yellow and green coloration, infuse the scene with a sense of suffering and turmoil. The dark, sinister rocks of the foreground add to the intense emotional atmosphere.

Prompt: ラオコーン (エル・グレコ)のインスピレーションに関する前景を説明してください。英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

El Greco's version of the classical subject captures the last dying struggle of ocoön and his sons. ocoön, the central figure of the painting, lies down in agony on the undulating, dark rocks of the foreground.  Sprawled against the foreshortened, dead body of one of his sons, ocoön clings to life as a serpent bites his head. On the left, ocoön's standing son contorts in pain, writhing as a serpent swoops in towards his abdomen. Flanking the scene on the right are Apollo and Artemis, who watch the grisly scene unfold. An unfinished figure consisting only of a head and leg also appears on the right.El Greco distorted the rules of proportion by portraying the mythological characters as elongated, contorted figures. ocoön sprawls in a strange position, unnaturally stretching out his leg in agony toward the arched, straining body of his son.  The distorted figures, with their murky yellow and green coloration, infuse the scene with a sense of suffering and turmoil. The dark, sinister rocks of the foreground add to the intense emotional atmosphere.

Prompt: ラオコーン (エル・グレコ)では、どのようにインスピレーションの前景が説明されていますか？英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

El Greco's version of the classical subject captures the last dying struggle of ocoön and his sons. ocoön, the central figure of the painting, lies down in agony on the undulating, dark rocks of the foreground.  Sprawled against the foreshortened, dead body of one of his sons, ocoön clings to life as a serpent bites his head. On the left, ocoön's standing son contorts in pain, writhing as a serpent swoops in towards his abdomen. Flanking the scene on the right are Apollo and Artemis, who watch the grisly scene unfold. An unfinished figure consisting only of a head and leg also appears on the right.El Greco distorted the rules of proportion by portraying the mythological characters as elongated, contorted figures. ocoön sprawls in a strange position, unnaturally stretching out his leg in agony toward the arched, straining body of his son.  The distorted figures, with their murky yellow and green coloration, infuse the scene with a sense of suffering and turmoil. The dark, sinister rocks of the foreground add to the intense emotional atmosphere.

Prompt: ラオコーン (エル・グレコ)のインスピレーションにおける前景の特徴を説明してください。英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

El Greco places the classical subject against a gloomy view of Toledo. El Greco's use of Toledo as the backdrop for his depiction of ocoön's death may be based on local folklore that the people of Toledo descended from the Trojans. In the painting, the Trojan horse moves towards the city, a reminder of ocoön's failed attempt to convince his countrymen of the trap. El Greco portrays the city Toledo as a world of suffering, using color to create a sense of doom. The high horizon line and the standing figures at the ends of the painting create a vertical composition. Dominated by turbulent shades of grey and swirling clouds, the threatening sky looms over Toledo and creates an eerie background that adds to the suffering of the foreground.

Prompt: ラオコーン (エル・グレコ)の文脈で、背景とインスピレーションを説明してください。英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

El Greco places the classical subject against a gloomy view of Toledo. El Greco's use of Toledo as the backdrop for his depiction of ocoön's death may be based on local folklore that the people of Toledo descended from the Trojans. In the painting, the Trojan horse moves towards the city, a reminder of ocoön's failed attempt to convince his countrymen of the trap. El Greco portrays the city Toledo as a world of suffering, using color to create a sense of doom. The high horizon line and the standing figures at the ends of the painting create a vertical composition. Dominated by turbulent shades of grey and swirling clouds, the threatening sky looms over Toledo and creates an eerie background that adds to the suffering of the foreground.

Prompt: ラオコーン (エル・グレコ)のインスピレーションに関する背景を説明してください。英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

El Greco places the classical subject against a gloomy view of Toledo. El Greco's use of Toledo as the backdrop for his depiction of ocoön's death may be based on local folklore that the people of Toledo descended from the Trojans. In the painting, the Trojan horse moves towards the city, a reminder of ocoön's failed attempt to convince his countrymen of the trap. El Greco portrays the city Toledo as a world of suffering, using color to create a sense of doom. The high horizon line and the standing figures at the ends of the painting create a vertical composition. Dominated by turbulent shades of grey and swirling clouds, the threatening sky looms over Toledo and creates an eerie background that adds to the suffering of the foreground.

Prompt: ラオコーン (エル・グレコ)では、どのようにインスピレーションの背景が説明されていますか？英語で出力して下さい。


subsection

ラオコーン (エル・グレコ)

El Greco places the classical subject against a gloomy view of Toledo. El Greco's use of Toledo as the backdrop for his depiction of ocoön's death may be based on local folklore that the people of Toledo descended from the Trojans. In the painting, the Trojan horse moves towards the city, a reminder of ocoön's failed attempt to convince his countrymen of the trap. El Greco portrays the city Toledo as a world of suffering, using color to create a sense of doom. The high horizon line and the standing figures at the ends of the painting create a vertical composition. Dominated by turbulent shades of grey and swirling clouds, the threatening sky looms over Toledo and creates an eerie background that adds to the suffering of the foreground.

Prompt: ラオコーン (エル・グレコ)のインスピレーションにおける背景の特徴を説明してください。英語で出力して下さい。


section

エステルの化粧

The Toilette of Esther or Esther Preparing to be Presented to King Ahasuerus, is an 1841 oil-on-canvas painting by the French artist Théodore Chassériau. The painting depicts a moment from the scriptural Book of Esther, when Esther prepared to meet King Ahasuerus, ruler of Persia, who subsequently took her as his wife. The painting is in the Musée du Louvre. Vincent Pomarède of the Museum of Fine Arts of Lyon has described it as "one of the most famous  in the Louvre".

Prompt: エステルの化粧に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Book of Esther
Ahasuerus
Louvre
Museum of Fine Arts of Lyon
Louvre
Théodore Chassériau
Vincent Pomarède


section

エステルの化粧

The Toilette of Esther or Esther Preparing to be Presented to King Ahasuerus, is an 1841 oil-on-canvas painting by the French artist Théodore Chassériau. The painting depicts a moment from the scriptural Book of Esther, when Esther prepared to meet King Ahasuerus, ruler of Persia, who subsequently took her as his wife. The painting is in the Musée du Louvre. Vincent Pomarède of the Museum of Fine Arts of Lyon has described it as "one of the most famous  in the Louvre".

Prompt: エステルの化粧の抽象を説明してください。英語で出力して下さい。

Book of Esther
Ahasuerus
Louvre
Museum of Fine Arts of Lyon
Louvre
Théodore Chassériau
Vincent Pomarède


section

エステルの化粧

The Toilette of Esther or Esther Preparing to be Presented to King Ahasuerus, is an 1841 oil-on-canvas painting by the French artist Théodore Chassériau. The painting depicts a moment from the scriptural Book of Esther, when Esther prepared to meet King Ahasuerus, ruler of Persia, who subsequently took her as his wife. The painting is in the Musée du Louvre. Vincent Pomarède of the Museum of Fine Arts of Lyon has described it as "one of the most famous  in the Louvre".

Prompt: エステルの化粧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。

Book of Esther
Ahasuerus
Louvre
Museum of Fine Arts of Lyon
Louvre
Théodore Chassériau
Vincent Pomarède


section

エステルの化粧

The Toilette of Esther or Esther Preparing to be Presented to King Ahasuerus, is an 1841 oil-on-canvas painting by the French artist Théodore Chassériau. The painting depicts a moment from the scriptural Book of Esther, when Esther prepared to meet King Ahasuerus, ruler of Persia, who subsequently took her as his wife. The painting is in the Musée du Louvre. Vincent Pomarède of the Museum of Fine Arts of Lyon has described it as "one of the most famous  in the Louvre".

Prompt: エステルの化粧に関して、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。

Book of Esther
Ahasuerus
Louvre
Museum of Fine Arts of Lyon
Louvre
Théodore Chassériau
Vincent Pomarède


section

エステルの化粧

The subject derives from the Book of Esther , in which King Ahasuerus, having renounced his wife Vashti, seeks a new queen. Esther, a woman of great beauty, finds favor with Hegai, the eunuch responsible for preparing women for presentation to the king. Upon seeing Esther, Ahasuerus chooses her as his wife. She later reveals that she is Jewish, and intercedes with the king in order to spare the lives of the empire's Jews.While choosing a biblical theme as a subject, it is likely that Chassériau drew upon more recent literary sources for inspiration. The play Esther, produced by Jean Racine in 1689, offers a more chaste version of Esther's seduction, while describing the artifice employed by her rivals for the king's attention. The exoticism of the painting is closer to an 1817 poem by Alfred de Vigny entitled Le Bain d'une dame romaine, which includes the description::A slave from Egypt, her skin glistening and black,:Presents her, kneeling, with the pure steel of the mirror,:To tie up her hair, a virgin from Greece,:In Isis's compass joins her two braids....and is reminiscent also of Les Orientales by Victor Hugo::Have I not, for you, lovely Jewess,:Sufficiently emptied my seraglio?The episode had rarely been painted before. Only two previous versions are known: a 17th-century painting by Aert de Gelder, and an 18th-century work by Jean-Francois de Troy. Given the dearth of pictorial illustrations of the story, Chassériau would have looked to paintings of women at their toilette, including depictions of Venus, of which there were more numerous examples.

Prompt: エステルの化粧に焦点を当てて、その物語を説明してください。英語で出力して下さい。

Aert de Gelder
Alfred de Vigny
Book of Esther
Hegai
Jean Racine
Ahasuerus
Les Orientales
Vashti
Victor Hugo


section

エステルの化粧

The subject derives from the Book of Esther , in which King Ahasuerus, having renounced his wife Vashti, seeks a new queen. Esther, a woman of great beauty, finds favor with Hegai, the eunuch responsible for preparing women for presentation to the king. Upon seeing Esther, Ahasuerus chooses her as his wife. She later reveals that she is Jewish, and intercedes with the king in order to spare the lives of the empire's Jews.While choosing a biblical theme as a subject, it is likely that Chassériau drew upon more recent literary sources for inspiration. The play Esther, produced by Jean Racine in 1689, offers a more chaste version of Esther's seduction, while describing the artifice employed by her rivals for the king's attention. The exoticism of the painting is closer to an 1817 poem by Alfred de Vigny entitled Le Bain d'une dame romaine, which includes the description::A slave from Egypt, her skin glistening and black,:Presents her, kneeling, with the pure steel of the mirror,:To tie up her hair, a virgin from Greece,:In Isis's compass joins her two braids....and is reminiscent also of Les Orientales by Victor Hugo::Have I not, for you, lovely Jewess,:Sufficiently emptied my seraglio?The episode had rarely been painted before. Only two previous versions are known: a 17th-century painting by Aert de Gelder, and an 18th-century work by Jean-Francois de Troy. Given the dearth of pictorial illustrations of the story, Chassériau would have looked to paintings of women at their toilette, including depictions of Venus, of which there were more numerous examples.

Prompt: エステルの化粧の物語を説明してください。英語で出力して下さい。

Aert de Gelder
Alfred de Vigny
Book of Esther
Hegai
Jean Racine
Ahasuerus
Les Orientales
Vashti
Victor Hugo


section

エステルの化粧

The subject derives from the Book of Esther , in which King Ahasuerus, having renounced his wife Vashti, seeks a new queen. Esther, a woman of great beauty, finds favor with Hegai, the eunuch responsible for preparing women for presentation to the king. Upon seeing Esther, Ahasuerus chooses her as his wife. She later reveals that she is Jewish, and intercedes with the king in order to spare the lives of the empire's Jews.While choosing a biblical theme as a subject, it is likely that Chassériau drew upon more recent literary sources for inspiration. The play Esther, produced by Jean Racine in 1689, offers a more chaste version of Esther's seduction, while describing the artifice employed by her rivals for the king's attention. The exoticism of the painting is closer to an 1817 poem by Alfred de Vigny entitled Le Bain d'une dame romaine, which includes the description::A slave from Egypt, her skin glistening and black,:Presents her, kneeling, with the pure steel of the mirror,:To tie up her hair, a virgin from Greece,:In Isis's compass joins her two braids....and is reminiscent also of Les Orientales by Victor Hugo::Have I not, for you, lovely Jewess,:Sufficiently emptied my seraglio?The episode had rarely been painted before. Only two previous versions are known: a 17th-century painting by Aert de Gelder, and an 18th-century work by Jean-Francois de Troy. Given the dearth of pictorial illustrations of the story, Chassériau would have looked to paintings of women at their toilette, including depictions of Venus, of which there were more numerous examples.

Prompt: エステルの化粧はどのように物語を説明していますか？英語で出力して下さい。

Aert de Gelder
Alfred de Vigny
Book of Esther
Hegai
Jean Racine
Ahasuerus
Les Orientales
Vashti
Victor Hugo