section

バッカスとアリアドネ

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website states that in the painting, "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of ocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of ocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature  may also have been familiar to the Duke as one of the antiquities in his collection.The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Prompt: バッカスとアリアドネ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。

Ariadne
Catullus
Corona Borealis
King Charles Spaniel
London
National Gallery
Ovid
Theseus
Titian


section

バッカスとアリアドネ

Ariadne has been left on the island of Naxos, deserted by her lover Theseus, whose ship sails away to the far left. She is discovered on the shore by the god Bacchus, leading a procession of revellers in a chariot drawn by two cheetahs. These were probably modelled on those in the Duke's menagerie and were tigers in Ovid's original text. Bacchus is depicted in mid-air as he leaps out of the chariot, taking her with him. In the sky above the figure of Ariadne is the star constellation Corona Borealis, the Northern Crown. The National Gallery's website states that in the painting, "Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on first sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head."The composition is divided diagonally into two triangles, one of blue sky, using the expensive ultramarine pigment, and still but for the two lovers caught in movement, the other a riot of movement and predominantly green/brown in colour. The follower of Bacchus who struggles with a snake is sometimes associated with the antique sculpture of ocoön and His Sons who had been killed by snakes. This statue had recently been discovered in Rome, and Titian had a history of sketching this figure, as seen through a woodcut completed from Titian's sketch of ocoön and his sons. But the satyr in Titian's painting is not in a mortal combat with the snakes, he is merely girding himself with them as is described in the original text by Catullus. The King Charles Spaniel that barks at the boy satyr is a common motif in Titian's work and was probably a court pet. The gold urn inscribed with the artist's signature  may also have been familiar to the Duke as one of the antiquities in his collection.The analysis of pigments used by Titian in this painting has been undertaken by scientists at the National Gallery in London and this analysis is illustrated at ColourLex.

Prompt: バッカスとアリアドネに関して、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。

Ariadne
Catullus
Corona Borealis
King Charles Spaniel
London
National Gallery
Ovid
Theseus
Titian


section

バッカスとアリアドネ

leftThere is continued discussion about which piece of ancient literature Titian's painting is based on. Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image . Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown.

Prompt: バッカスとアリアドネに焦点を当てて、その文学的な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。

Ariadne
Ars Amatoria
Catullus
Edgar Wind
Metamorphoses
Ovid
Satyr
Titian


section

バッカスとアリアドネ

leftThere is continued discussion about which piece of ancient literature Titian's painting is based on. Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image . Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown.

Prompt: バッカスとアリアドネの文学的な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。

Ariadne
Ars Amatoria
Catullus
Edgar Wind
Metamorphoses
Ovid
Satyr
Titian


section

バッカスとアリアドネ

leftThere is continued discussion about which piece of ancient literature Titian's painting is based on. Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image . Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown.

Prompt: バッカスとアリアドネはどのように文学的な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。

Ariadne
Ars Amatoria
Catullus
Edgar Wind
Metamorphoses
Ovid
Satyr
Titian


section

バッカスとアリアドネ

leftThere is continued discussion about which piece of ancient literature Titian's painting is based on. Until the 1940s, Catullus' 64th poem was considered to be the inspiration, due to the fact that it includes multiple images from Catullus' poem, such as the tambourine, cymbals, and the Satyr wrapped in serpents. In 1948, art historian Edgar Wind suggested instead that this image was based on Ovid's Fasti Book 3. Wind contended that this was the true literary source because it accounted for Bacchus leaping from the chariot, the presence of the constellation in the sky, and the fact that Ariadne is awake in this image . Other scholars have suggested that the Northern Crown points to other works by Ovid, either his Metamorphoses, in which Bacchus throws the crown of Ariadne into the sky where it becomes the constellation Northern Crown, or his Ars Amatoria, in which Bacchus promises the entire sky to Ariadne where she then would become the Northern Crown.

Prompt: バッカスとアリアドネに関して、どのように文学的な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。

Ariadne
Ars Amatoria
Catullus
Edgar Wind
Metamorphoses
Ovid
Satyr
Titian


section

バッカスとアリアドネ

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Prompt: バッカスとアリアドネに焦点を当てて、その修復を説明してください。英語で出力して下さい。


section

バッカスとアリアドネ

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Prompt: バッカスとアリアドネの修復を説明してください。英語で出力して下さい。


section

バッカスとアリアドネ

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Prompt: バッカスとアリアドネはどのように修復を説明していますか？英語で出力して下さい。


section

バッカスとアリアドネ

The canvas on which Bacchus and Ariadne is painted was rolled up twice in the first century of its existence, which had consequences for the painting. From the turn of the 19th century onwards it was frequently being restored to stop paint from flaking off, with the most controversial restoration being that carried out at the National Gallery between 1967 and 1968. This greatly brightened the surface of the painting, and came as something of a shock to many viewers, used to a heavy varnish finish.  When discoloured varnish lying directly on top of the paint surface was removed, some of the paint itself came off as well and repainting was necessary.This has caused some critics to note that the expanse of blue sky on the left-hand side, one of the worst-affected areas of the painting, appears flat and pallid. It has also been argued that the removal of the varnish has left the painting tonally out of balance, since Titian is likely to have added some subtle glazes to the paint surface in order to tone down some of the more jarring colours. The National Gallery maintains that this was an unavoidable loss, because the accrued layers of later varnish had turned the painting brown and sludgy and had to be removed.  More recent examination has confirmed that the paint remains largely original.

Prompt: バッカスとアリアドネに関して、どのように修復が議論されていますか？英語で出力して下さい。


section

バッカスとアリアドネ

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni , in the LouvreGuido Reni Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Prompt: バッカスとアリアドネに焦点を当てて、その他の絵画を説明してください。英語で出力して下さい。

Alnwick Castle
Ariadne
Chiswick House
Doge's Palace
Eustache Le Sueur
Ferdinand Bol
Guido Reni
Hermitage Museum
Tintoretto
Louvre
Nicolas Poussin
Sebastiano Ricci
Titian


section

バッカスとアリアドネ

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni , in the LouvreGuido Reni Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Prompt: バッカスとアリアドネの他の絵画を説明してください。英語で出力して下さい。

Alnwick Castle
Ariadne
Chiswick House
Doge's Palace
Eustache Le Sueur
Ferdinand Bol
Guido Reni
Hermitage Museum
Tintoretto
Louvre
Nicolas Poussin
Sebastiano Ricci
Titian


section

バッカスとアリアドネ

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni , in the LouvreGuido Reni Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Prompt: バッカスとアリアドネはどのように他の絵画を説明していますか？英語で出力して下さい。

Alnwick Castle
Ariadne
Chiswick House
Doge's Palace
Eustache Le Sueur
Ferdinand Bol
Guido Reni
Hermitage Museum
Tintoretto
Louvre
Nicolas Poussin
Sebastiano Ricci
Titian


section

バッカスとアリアドネ

There are many other paintings of the subject in museum collections, including the following: Giovan Battista Pittoni , in the LouvreGuido Reni Ferdinand Bol, Hermitage MuseumEustache Le Sueur, Boston MFASebastiano Ricci, Chiswick HouseJacopo Tintoretto, Bacchus, Venus and Ariadne, Doge's Palace, Venice.A copy of Titian's painting by Nicolas Poussin is part of the collection at Alnwick Castle.

Prompt: バッカスとアリアドネに関して、どのように他の絵画が議論されていますか？英語で出力して下さい。

Alnwick Castle
Ariadne
Chiswick House
Doge's Palace
Eustache Le Sueur
Ferdinand Bol
Guido Reni
Hermitage Museum
Tintoretto
Louvre
Nicolas Poussin
Sebastiano Ricci
Titian


section

バッカスとアリアドネ

John Keats alluded to this painting  in his "Ode to a Nightingale"  and in "mia" .Letitia Elizabeth ndon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Prompt: バッカスとアリアドネに焦点を当てて、その他のメディアでの言及を説明してください。英語で出力して下さい。

Ananda Sukarlan
Anita Brookner
Ariadne
Crash Test Dummies
God Shuffled His Feet
John Keats
London
National Gallery
Titian


section

バッカスとアリアドネ

John Keats alluded to this painting  in his "Ode to a Nightingale"  and in "mia" .Letitia Elizabeth ndon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Prompt: バッカスとアリアドネの他のメディアでの言及を説明してください。英語で出力して下さい。

Ananda Sukarlan
Anita Brookner
Ariadne
Crash Test Dummies
God Shuffled His Feet
John Keats
London
National Gallery
Titian


section

バッカスとアリアドネ

John Keats alluded to this painting  in his "Ode to a Nightingale"  and in "mia" .Letitia Elizabeth ndon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Prompt: バッカスとアリアドネはどのように他のメディアでの言及を説明していますか？英語で出力して下さい。

Ananda Sukarlan
Anita Brookner
Ariadne
Crash Test Dummies
God Shuffled His Feet
John Keats
London
National Gallery
Titian


section

バッカスとアリアドネ

John Keats alluded to this painting  in his "Ode to a Nightingale"  and in "mia" .Letitia Elizabeth ndon reviews this work in her poem "Bacchus and Ariadne", first published in 1822, as a "Dramatic Scene", being a dialogue between Leonardi and Alvine.The painting was the basis for the cover of the 1993 album God Shuffled His Feet by rock band Crash Test Dummies.The Indonesian composer Ananda Sukarlan has made a musical work for flute and piano, "Rescuing Ariadne" after being inspired by Titian's painting in the National Gallery of London.In her novel Misalliance, Anita Brookner alludes to Titian's painting and depicts the encounter between Ariadne and Bacchus as an "ecstatic moment of recognition  [...], so immediate that Bacchus' foot has not had time to touch the ground as he leaps from his chariot, so shocking that Ariadne flings up a hand protest."

Prompt: バッカスとアリアドネに関して、どのように他のメディアでの言及が議論されていますか？英語で出力して下さい。

Ananda Sukarlan
Anita Brookner
Ariadne
Crash Test Dummies
God Shuffled His Feet
John Keats
London
National Gallery
Titian


section

バッカスとアリアドネ

Prompt: バッカスとアリアドネに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

バッカスとアリアドネ

Prompt: バッカスとアリアドネの参照を説明してください。英語で出力して下さい。


section

バッカスとアリアドネ

Prompt: バッカスとアリアドネ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

バッカスとアリアドネ

Prompt: バッカスとアリアドネに関して、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

バッカスとアリアドネ

Bomford, David . Conservation of Paintings. London: National Gallery Company. Jaffé, David; et al. . Titian. London: National Gallery Company. Gould, C.H.M. . The studio of Alfonso d’Este and Titian’s Bacchus and Ariadne: a re-examination of the chronology of the Bacchanals and of the evolution of one of them. London: National Gallery Company.

Prompt: バッカスとアリアドネに焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

バッカスとアリアドネ

Bomford, David . Conservation of Paintings. London: National Gallery Company. Jaffé, David; et al. . Titian. London: National Gallery Company. Gould, C.H.M. . The studio of Alfonso d’Este and Titian’s Bacchus and Ariadne: a re-examination of the chronology of the Bacchanals and of the evolution of one of them. London: National Gallery Company.

Prompt: バッカスとアリアドネのさらなる読書を説明してください。英語で出力して下さい。


section

バッカスとアリアドネ

Bomford, David . Conservation of Paintings. London: National Gallery Company. Jaffé, David; et al. . Titian. London: National Gallery Company. Gould, C.H.M. . The studio of Alfonso d’Este and Titian’s Bacchus and Ariadne: a re-examination of the chronology of the Bacchanals and of the evolution of one of them. London: National Gallery Company.

Prompt: バッカスとアリアドネはどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

バッカスとアリアドネ

Bomford, David . Conservation of Paintings. London: National Gallery Company. Jaffé, David; et al. . Titian. London: National Gallery Company. Gould, C.H.M. . The studio of Alfonso d’Este and Titian’s Bacchus and Ariadne: a re-examination of the chronology of the Bacchanals and of the evolution of one of them. London: National Gallery Company.

Prompt: バッカスとアリアドネに関して、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。


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眠るジプシー女

Sleeping Gypsy }} catalogue= accession=646.1939 medium=oil on canvas height_metric=129.5 width_metric=200.7 metric_unit=cm imperial_unit=in museum=Museum of Modern Art city=New York City}}The Sleeping Gypsy   is an 1897 oil on canvas painting by the French Naïve artist Henri Rousseau . It is a fantastical depiction of a lion musing over a sleeping woman on a moonlit night.  It is held by the Museum of Modern Art in New York City, to which it was donated by Mrs. Simon Guggenheim in 1939. In the museum, the painting is housed next to Vincent van Gogh's famous painting; The Starry Night.

Prompt: 眠るジプシー女に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Henri Rousseau
Museum of Modern Art
Naïve art
New York City
Simon Guggenheim


section

眠るジプシー女

Sleeping Gypsy }} catalogue= accession=646.1939 medium=oil on canvas height_metric=129.5 width_metric=200.7 metric_unit=cm imperial_unit=in museum=Museum of Modern Art city=New York City}}The Sleeping Gypsy   is an 1897 oil on canvas painting by the French Naïve artist Henri Rousseau . It is a fantastical depiction of a lion musing over a sleeping woman on a moonlit night.  It is held by the Museum of Modern Art in New York City, to which it was donated by Mrs. Simon Guggenheim in 1939. In the museum, the painting is housed next to Vincent van Gogh's famous painting; The Starry Night.

Prompt: 眠るジプシー女の抽象を説明してください。英語で出力して下さい。

Henri Rousseau
Museum of Modern Art
Naïve art
New York City
Simon Guggenheim


section

眠るジプシー女

Sleeping Gypsy }} catalogue= accession=646.1939 medium=oil on canvas height_metric=129.5 width_metric=200.7 metric_unit=cm imperial_unit=in museum=Museum of Modern Art city=New York City}}The Sleeping Gypsy   is an 1897 oil on canvas painting by the French Naïve artist Henri Rousseau . It is a fantastical depiction of a lion musing over a sleeping woman on a moonlit night.  It is held by the Museum of Modern Art in New York City, to which it was donated by Mrs. Simon Guggenheim in 1939. In the museum, the painting is housed next to Vincent van Gogh's famous painting; The Starry Night.

Prompt: 眠るジプシー女はどのように抽象を説明していますか？英語で出力して下さい。

Henri Rousseau
Museum of Modern Art
Naïve art
New York City
Simon Guggenheim


section

眠るジプシー女

Sleeping Gypsy }} catalogue= accession=646.1939 medium=oil on canvas height_metric=129.5 width_metric=200.7 metric_unit=cm imperial_unit=in museum=Museum of Modern Art city=New York City}}The Sleeping Gypsy   is an 1897 oil on canvas painting by the French Naïve artist Henri Rousseau . It is a fantastical depiction of a lion musing over a sleeping woman on a moonlit night.  It is held by the Museum of Modern Art in New York City, to which it was donated by Mrs. Simon Guggenheim in 1939. In the museum, the painting is housed next to Vincent van Gogh's famous painting; The Starry Night.

Prompt: 眠るジプシー女に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Henri Rousseau
Museum of Modern Art
Naïve art
New York City
Simon Guggenheim


section

眠るジプシー女

Rousseau described his painting as follows: "A wandering Negress, a mandolin player, lies with her jar beside her , overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic. The scene is set in a completely arid desert.  The gypsy is dressed in oriental costume."In the painting, a dark-skinned woman – the Romany gypsy of the title, variously linked in French literature to Bohemia or to Egypt – is sleeping in an arid landscape with mountains in the background, under a dark sky with a few stars and a full moon.  She is wearing a long robe with a rainbow of colourful stripes, perhaps a djellaba or jellabiya, and lies upon a similarly striped cloth.  Her right hand holds a staff, while beside her rests a mandolin and a tall jar with slim neck.  While she continues to lie passively, a maned lion has approached and dips its head to cautiously sniff.  The painting measures .  Although painted in a naïve manner, with simple shapes and large blocks of colour, the painting may be based on Rousseau's observations of animals at the Jardin des Plantes and of reconstructed colonial villages at the 1889 World's Fair in Paris.

Prompt: 眠るジプシー女に焦点を当てて、その説明を説明してください。英語で出力して下さい。


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眠るジプシー女

Rousseau described his painting as follows: "A wandering Negress, a mandolin player, lies with her jar beside her , overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic. The scene is set in a completely arid desert.  The gypsy is dressed in oriental costume."In the painting, a dark-skinned woman – the Romany gypsy of the title, variously linked in French literature to Bohemia or to Egypt – is sleeping in an arid landscape with mountains in the background, under a dark sky with a few stars and a full moon.  She is wearing a long robe with a rainbow of colourful stripes, perhaps a djellaba or jellabiya, and lies upon a similarly striped cloth.  Her right hand holds a staff, while beside her rests a mandolin and a tall jar with slim neck.  While she continues to lie passively, a maned lion has approached and dips its head to cautiously sniff.  The painting measures .  Although painted in a naïve manner, with simple shapes and large blocks of colour, the painting may be based on Rousseau's observations of animals at the Jardin des Plantes and of reconstructed colonial villages at the 1889 World's Fair in Paris.

Prompt: 眠るジプシー女の説明を説明してください。英語で出力して下さい。


section

眠るジプシー女

Rousseau described his painting as follows: "A wandering Negress, a mandolin player, lies with her jar beside her , overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic. The scene is set in a completely arid desert.  The gypsy is dressed in oriental costume."In the painting, a dark-skinned woman – the Romany gypsy of the title, variously linked in French literature to Bohemia or to Egypt – is sleeping in an arid landscape with mountains in the background, under a dark sky with a few stars and a full moon.  She is wearing a long robe with a rainbow of colourful stripes, perhaps a djellaba or jellabiya, and lies upon a similarly striped cloth.  Her right hand holds a staff, while beside her rests a mandolin and a tall jar with slim neck.  While she continues to lie passively, a maned lion has approached and dips its head to cautiously sniff.  The painting measures .  Although painted in a naïve manner, with simple shapes and large blocks of colour, the painting may be based on Rousseau's observations of animals at the Jardin des Plantes and of reconstructed colonial villages at the 1889 World's Fair in Paris.

Prompt: 眠るジプシー女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。


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眠るジプシー女

Rousseau described his painting as follows: "A wandering Negress, a mandolin player, lies with her jar beside her , overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic. The scene is set in a completely arid desert.  The gypsy is dressed in oriental costume."In the painting, a dark-skinned woman – the Romany gypsy of the title, variously linked in French literature to Bohemia or to Egypt – is sleeping in an arid landscape with mountains in the background, under a dark sky with a few stars and a full moon.  She is wearing a long robe with a rainbow of colourful stripes, perhaps a djellaba or jellabiya, and lies upon a similarly striped cloth.  Her right hand holds a staff, while beside her rests a mandolin and a tall jar with slim neck.  While she continues to lie passively, a maned lion has approached and dips its head to cautiously sniff.  The painting measures .  Although painted in a naïve manner, with simple shapes and large blocks of colour, the painting may be based on Rousseau's observations of animals at the Jardin des Plantes and of reconstructed colonial villages at the 1889 World's Fair in Paris.

Prompt: 眠るジプシー女に関して、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

眠るジプシー女

Rousseau first exhibited the painting at the 13th Salon des Indépendants in 1897, and tried unsuccessfully to sell it to the mayor of his hometown, val. Instead, it entered the private collection of a Parisian charcoal merchant where it remained until 1924, when it was discovered and bought by the art critic Louis Vauxcelles.  The Paris-based art dealer Daniel-Henry Kahnweiler purchased the painting in 1924, although a controversy arose over whether the painting was a forgery. It was acquired by art historian Alfred H. Barr Jr. for the New York Museum of Modern Art.It was bought by John Quinn in 1924, and after his death later that year his estate sold at Hôtel Drouot to , who sold to Mme Emma Ruckstuhl of Küssnacht in Switzerland.  She sold to  Mrs. Simon Guggenheim  in December 1939, who donated it to the Museum of Modern Art. The painting also became the subject of a Between the Lions episode, in which the cubs try to tell their own stories based on the painting. In the episode, the mandolin was misreferred to several times as a lute.

Prompt: 眠るジプシー女に焦点を当てて、その起源を説明してください。英語で出力して下さい。

Alfred H. Barr Jr.
Between the Lions
Daniel-Henry Kahnweiler
Emma Ruckstuhl
Hôtel Drouot
Küssnacht
Louis Vauxcelles
Museum of Modern Art
Simon Guggenheim


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眠るジプシー女

Rousseau first exhibited the painting at the 13th Salon des Indépendants in 1897, and tried unsuccessfully to sell it to the mayor of his hometown, val. Instead, it entered the private collection of a Parisian charcoal merchant where it remained until 1924, when it was discovered and bought by the art critic Louis Vauxcelles.  The Paris-based art dealer Daniel-Henry Kahnweiler purchased the painting in 1924, although a controversy arose over whether the painting was a forgery. It was acquired by art historian Alfred H. Barr Jr. for the New York Museum of Modern Art.It was bought by John Quinn in 1924, and after his death later that year his estate sold at Hôtel Drouot to , who sold to Mme Emma Ruckstuhl of Küssnacht in Switzerland.  She sold to  Mrs. Simon Guggenheim  in December 1939, who donated it to the Museum of Modern Art. The painting also became the subject of a Between the Lions episode, in which the cubs try to tell their own stories based on the painting. In the episode, the mandolin was misreferred to several times as a lute.

Prompt: 眠るジプシー女の起源を説明してください。英語で出力して下さい。

Alfred H. Barr Jr.
Between the Lions
Daniel-Henry Kahnweiler
Emma Ruckstuhl
Hôtel Drouot
Küssnacht
Louis Vauxcelles
Museum of Modern Art
Simon Guggenheim


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眠るジプシー女

Rousseau first exhibited the painting at the 13th Salon des Indépendants in 1897, and tried unsuccessfully to sell it to the mayor of his hometown, val. Instead, it entered the private collection of a Parisian charcoal merchant where it remained until 1924, when it was discovered and bought by the art critic Louis Vauxcelles.  The Paris-based art dealer Daniel-Henry Kahnweiler purchased the painting in 1924, although a controversy arose over whether the painting was a forgery. It was acquired by art historian Alfred H. Barr Jr. for the New York Museum of Modern Art.It was bought by John Quinn in 1924, and after his death later that year his estate sold at Hôtel Drouot to , who sold to Mme Emma Ruckstuhl of Küssnacht in Switzerland.  She sold to  Mrs. Simon Guggenheim  in December 1939, who donated it to the Museum of Modern Art. The painting also became the subject of a Between the Lions episode, in which the cubs try to tell their own stories based on the painting. In the episode, the mandolin was misreferred to several times as a lute.

Prompt: 眠るジプシー女はどのように起源を説明していますか？英語で出力して下さい。

Alfred H. Barr Jr.
Between the Lions
Daniel-Henry Kahnweiler
Emma Ruckstuhl
Hôtel Drouot
Küssnacht
Louis Vauxcelles
Museum of Modern Art
Simon Guggenheim


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眠るジプシー女

Rousseau first exhibited the painting at the 13th Salon des Indépendants in 1897, and tried unsuccessfully to sell it to the mayor of his hometown, val. Instead, it entered the private collection of a Parisian charcoal merchant where it remained until 1924, when it was discovered and bought by the art critic Louis Vauxcelles.  The Paris-based art dealer Daniel-Henry Kahnweiler purchased the painting in 1924, although a controversy arose over whether the painting was a forgery. It was acquired by art historian Alfred H. Barr Jr. for the New York Museum of Modern Art.It was bought by John Quinn in 1924, and after his death later that year his estate sold at Hôtel Drouot to , who sold to Mme Emma Ruckstuhl of Küssnacht in Switzerland.  She sold to  Mrs. Simon Guggenheim  in December 1939, who donated it to the Museum of Modern Art. The painting also became the subject of a Between the Lions episode, in which the cubs try to tell their own stories based on the painting. In the episode, the mandolin was misreferred to several times as a lute.

Prompt: 眠るジプシー女に関して、どのように起源が議論されていますか？英語で出力して下さい。

Alfred H. Barr Jr.
Between the Lions
Daniel-Henry Kahnweiler
Emma Ruckstuhl
Hôtel Drouot
Küssnacht
Louis Vauxcelles
Museum of Modern Art
Simon Guggenheim


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眠れるヴィーナスとキューピッド、サテュロス

Venus and Cupid with a Satyr  is a painting by the Italian High Renaissance artist Antonio da Correggio. It is now in the Musée du Louvre in Paris.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Antonio da Correggio
High Renaissance
Louvre
Satyr


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眠れるヴィーナスとキューピッド、サテュロス

Venus and Cupid with a Satyr  is a painting by the Italian High Renaissance artist Antonio da Correggio. It is now in the Musée du Louvre in Paris.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスの抽象を説明してください。英語で出力して下さい。

Antonio da Correggio
High Renaissance
Louvre
Satyr


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眠れるヴィーナスとキューピッド、サテュロス

Venus and Cupid with a Satyr  is a painting by the Italian High Renaissance artist Antonio da Correggio. It is now in the Musée du Louvre in Paris.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスはどのように抽象を説明していますか？英語で出力して下さい。

Antonio da Correggio
High Renaissance
Louvre
Satyr


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眠れるヴィーナスとキューピッド、サテュロス

Venus and Cupid with a Satyr  is a painting by the Italian High Renaissance artist Antonio da Correggio. It is now in the Musée du Louvre in Paris.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Antonio da Correggio
High Renaissance
Louvre
Satyr


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眠れるヴィーナスとキューピッド、サテュロス

This painting  was in the 16th century in the private collection of count Nicholas Maffei. It is very likely that one of the members of the Maffei family has commissioned two paintings that they then arrived in the 17th century in the collection of the Gonzaga family, with whom the Maffei were relatives. In fact, the son of count Nicholas Maffei, count Frederick Maffei, married Isabel, daughter of Cardinal Ercole Gonzaga.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスに焦点を当てて、その背景を説明してください。英語で出力して下さい。


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眠れるヴィーナスとキューピッド、サテュロス

This painting  was in the 16th century in the private collection of count Nicholas Maffei. It is very likely that one of the members of the Maffei family has commissioned two paintings that they then arrived in the 17th century in the collection of the Gonzaga family, with whom the Maffei were relatives. In fact, the son of count Nicholas Maffei, count Frederick Maffei, married Isabel, daughter of Cardinal Ercole Gonzaga.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスの背景を説明してください。英語で出力して下さい。


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眠れるヴィーナスとキューピッド、サテュロス

This painting  was in the 16th century in the private collection of count Nicholas Maffei. It is very likely that one of the members of the Maffei family has commissioned two paintings that they then arrived in the 17th century in the collection of the Gonzaga family, with whom the Maffei were relatives. In fact, the son of count Nicholas Maffei, count Frederick Maffei, married Isabel, daughter of Cardinal Ercole Gonzaga.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスはどのように背景を説明していますか？英語で出力して下さい。


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眠れるヴィーナスとキューピッド、サテュロス

This painting  was in the 16th century in the private collection of count Nicholas Maffei. It is very likely that one of the members of the Maffei family has commissioned two paintings that they then arrived in the 17th century in the collection of the Gonzaga family, with whom the Maffei were relatives. In fact, the son of count Nicholas Maffei, count Frederick Maffei, married Isabel, daughter of Cardinal Ercole Gonzaga.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスに関して、どのように背景が議論されていますか？英語で出力して下さい。


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眠れるヴィーナスとキューピッド、サテュロス

The work depicts Venus sleeping with her son Eros. Behind them, a satyr is caught while discovering the goddess. The picture is often also seen as portraying Jupiter and Antiope as, according to mythology and Ovid, Jupiter had turned himself into a satyr to rape the nymph.The painting was probably connected to Correggio's Venus with Mercury and Cupid , now in the National Gallery of London. It, or a copy of it, can be seen in the 1628 painting of the gallery of Cornelis van der Geest, by Willem van Haecht.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスに焦点を当てて、その説明を説明してください。英語で出力して下さい。

Cornelis van der Geest
Ovid
Venus with Mercury and Cupid
Willem van Haecht


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眠れるヴィーナスとキューピッド、サテュロス

The work depicts Venus sleeping with her son Eros. Behind them, a satyr is caught while discovering the goddess. The picture is often also seen as portraying Jupiter and Antiope as, according to mythology and Ovid, Jupiter had turned himself into a satyr to rape the nymph.The painting was probably connected to Correggio's Venus with Mercury and Cupid , now in the National Gallery of London. It, or a copy of it, can be seen in the 1628 painting of the gallery of Cornelis van der Geest, by Willem van Haecht.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスの説明を説明してください。英語で出力して下さい。

Cornelis van der Geest
Ovid
Venus with Mercury and Cupid
Willem van Haecht


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眠れるヴィーナスとキューピッド、サテュロス

The work depicts Venus sleeping with her son Eros. Behind them, a satyr is caught while discovering the goddess. The picture is often also seen as portraying Jupiter and Antiope as, according to mythology and Ovid, Jupiter had turned himself into a satyr to rape the nymph.The painting was probably connected to Correggio's Venus with Mercury and Cupid , now in the National Gallery of London. It, or a copy of it, can be seen in the 1628 painting of the gallery of Cornelis van der Geest, by Willem van Haecht.

Prompt: 眠れるヴィーナスとキューピッド、サテュロス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。

Cornelis van der Geest
Ovid
Venus with Mercury and Cupid
Willem van Haecht


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眠れるヴィーナスとキューピッド、サテュロス

The work depicts Venus sleeping with her son Eros. Behind them, a satyr is caught while discovering the goddess. The picture is often also seen as portraying Jupiter and Antiope as, according to mythology and Ovid, Jupiter had turned himself into a satyr to rape the nymph.The painting was probably connected to Correggio's Venus with Mercury and Cupid , now in the National Gallery of London. It, or a copy of it, can be seen in the 1628 painting of the gallery of Cornelis van der Geest, by Willem van Haecht.

Prompt: 眠れるヴィーナスとキューピッド、サテュロスに関して、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。

Cornelis van der Geest
Ovid
Venus with Mercury and Cupid
Willem van Haecht


section

眠れるヴィーナスとキューピッド、サテュロス

Category:Mythological paintings by CorreggioCategory:1528 paintingsCategory:Paintings in the Louvre by Italian artistsCategory:Paintings of VenusCategory:Nude artCategory:Paintings of CupidCategory:Gonzaga art collection

Prompt: 眠れるヴィーナスとキューピッド、サテュロスに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


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眠れるヴィーナスとキューピッド、サテュロス

Category:Mythological paintings by CorreggioCategory:1528 paintingsCategory:Paintings in the Louvre by Italian artistsCategory:Paintings of VenusCategory:Nude artCategory:Paintings of CupidCategory:Gonzaga art collection

Prompt: 眠れるヴィーナスとキューピッド、サテュロスの外部リンクを説明してください。英語で出力して下さい。


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眠れるヴィーナスとキューピッド、サテュロス

Category:Mythological paintings by CorreggioCategory:1528 paintingsCategory:Paintings in the Louvre by Italian artistsCategory:Paintings of VenusCategory:Nude artCategory:Paintings of CupidCategory:Gonzaga art collection

Prompt: 眠れるヴィーナスとキューピッド、サテュロスはどのように外部リンクを説明していますか？英語で出力して下さい。


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眠れるヴィーナスとキューピッド、サテュロス

Category:Mythological paintings by CorreggioCategory:1528 paintingsCategory:Paintings in the Louvre by Italian artistsCategory:Paintings of VenusCategory:Nude artCategory:Paintings of CupidCategory:Gonzaga art collection

Prompt: 眠れるヴィーナスとキューピッド、サテュロスに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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イカロスの墜落のある風景

medium = Oil on canvas height_metric = 73.5 width_metric = 112 city = Brussels museum = Royal Museums of Fine Arts of Belgium}}ndscape with the Fall of Icarus is a painting in oil on canvas measuring  now in the Royal Museums of Fine Arts of Belgium in Brussels. It was long thought to be by the leading painter of Dutch and Flemish Renaissance painting, Pieter Bruegel the Elder. However, following technical examinations in 1996 of the painting hanging in the Brussels museum, that attribution is regarded as very doubtful, and the painting, perhaps painted in the 1560s, is now usually seen as a good early copy by an unknown artist of Bruegel's lost original, perhaps from about 1558.  According to the museum: "It is doubtful the execution is by Bruegel the Elder, but the composition can be said with certainty to be his", although recent technical research has re-opened the question.rgely derived from Ovid, the painting is described in W. H. Auden's famous poem "Musée des Beaux-Arts", named after the museum in Brussels which holds the painting, and became the subject of a poem of the same name by William Carlos Williams, as well as "Lines on Bruegel's 'Icarus'" by Michael Hamburger.Though the world landscape, a type of work with the title subject represented by small figures in the distance, was an established type in Early Netherlandish painting, pioneered by Joachim Patinir, to have a much larger unrelated "genre" figure in the foreground is original and represents something of a blow against the emerging hierarchy of genres.  Other landscapes by Bruegel, for example The Hunters in the Snow  and others in that series of paintings showing the seasons, show genre figures in a raised foreground, but not so large relative to the size of the image, nor with a subject from a "higher" class of painting in the background.However, paintings from the same period by the Antwerp artist Pieter Aertsen had large kitchen or market genre scenes, with large figures in the foreground, and in the distant background a glimpse of a scene from the Life of Christ.  Giving more prominence to "low" subject-matter than "high" in the same work is a feature of some Northern Mannerist art, often called "Mannerist inversion".  The traditional moral of the Icarus story, warning against excessive ambition, is reinforced by  fore-grounding humbler figures who appear content to fill useful agricultural roles in life.

Prompt: イカロスの墜落のある風景に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Brussels
Dutch and Flemish Renaissance painting
Early Netherlandish painting
Icarus
Joachim Patinir
Michael Hamburger
Ovid
Pieter Aertsen
Pieter Bruegel the Elder
Royal Museums of Fine Arts of Belgium
The Hunters in the Snow
W. H. Auden
William Carlos Williams


section

イカロスの墜落のある風景

medium = Oil on canvas height_metric = 73.5 width_metric = 112 city = Brussels museum = Royal Museums of Fine Arts of Belgium}}ndscape with the Fall of Icarus is a painting in oil on canvas measuring  now in the Royal Museums of Fine Arts of Belgium in Brussels. It was long thought to be by the leading painter of Dutch and Flemish Renaissance painting, Pieter Bruegel the Elder. However, following technical examinations in 1996 of the painting hanging in the Brussels museum, that attribution is regarded as very doubtful, and the painting, perhaps painted in the 1560s, is now usually seen as a good early copy by an unknown artist of Bruegel's lost original, perhaps from about 1558.  According to the museum: "It is doubtful the execution is by Bruegel the Elder, but the composition can be said with certainty to be his", although recent technical research has re-opened the question.rgely derived from Ovid, the painting is described in W. H. Auden's famous poem "Musée des Beaux-Arts", named after the museum in Brussels which holds the painting, and became the subject of a poem of the same name by William Carlos Williams, as well as "Lines on Bruegel's 'Icarus'" by Michael Hamburger.Though the world landscape, a type of work with the title subject represented by small figures in the distance, was an established type in Early Netherlandish painting, pioneered by Joachim Patinir, to have a much larger unrelated "genre" figure in the foreground is original and represents something of a blow against the emerging hierarchy of genres.  Other landscapes by Bruegel, for example The Hunters in the Snow  and others in that series of paintings showing the seasons, show genre figures in a raised foreground, but not so large relative to the size of the image, nor with a subject from a "higher" class of painting in the background.However, paintings from the same period by the Antwerp artist Pieter Aertsen had large kitchen or market genre scenes, with large figures in the foreground, and in the distant background a glimpse of a scene from the Life of Christ.  Giving more prominence to "low" subject-matter than "high" in the same work is a feature of some Northern Mannerist art, often called "Mannerist inversion".  The traditional moral of the Icarus story, warning against excessive ambition, is reinforced by  fore-grounding humbler figures who appear content to fill useful agricultural roles in life.

Prompt: イカロスの墜落のある風景の抽象を説明してください。英語で出力して下さい。

Brussels
Dutch and Flemish Renaissance painting
Early Netherlandish painting
Icarus
Joachim Patinir
Michael Hamburger
Ovid
Pieter Aertsen
Pieter Bruegel the Elder
Royal Museums of Fine Arts of Belgium
The Hunters in the Snow
W. H. Auden
William Carlos Williams


section

イカロスの墜落のある風景

medium = Oil on canvas height_metric = 73.5 width_metric = 112 city = Brussels museum = Royal Museums of Fine Arts of Belgium}}ndscape with the Fall of Icarus is a painting in oil on canvas measuring  now in the Royal Museums of Fine Arts of Belgium in Brussels. It was long thought to be by the leading painter of Dutch and Flemish Renaissance painting, Pieter Bruegel the Elder. However, following technical examinations in 1996 of the painting hanging in the Brussels museum, that attribution is regarded as very doubtful, and the painting, perhaps painted in the 1560s, is now usually seen as a good early copy by an unknown artist of Bruegel's lost original, perhaps from about 1558.  According to the museum: "It is doubtful the execution is by Bruegel the Elder, but the composition can be said with certainty to be his", although recent technical research has re-opened the question.rgely derived from Ovid, the painting is described in W. H. Auden's famous poem "Musée des Beaux-Arts", named after the museum in Brussels which holds the painting, and became the subject of a poem of the same name by William Carlos Williams, as well as "Lines on Bruegel's 'Icarus'" by Michael Hamburger.Though the world landscape, a type of work with the title subject represented by small figures in the distance, was an established type in Early Netherlandish painting, pioneered by Joachim Patinir, to have a much larger unrelated "genre" figure in the foreground is original and represents something of a blow against the emerging hierarchy of genres.  Other landscapes by Bruegel, for example The Hunters in the Snow  and others in that series of paintings showing the seasons, show genre figures in a raised foreground, but not so large relative to the size of the image, nor with a subject from a "higher" class of painting in the background.However, paintings from the same period by the Antwerp artist Pieter Aertsen had large kitchen or market genre scenes, with large figures in the foreground, and in the distant background a glimpse of a scene from the Life of Christ.  Giving more prominence to "low" subject-matter than "high" in the same work is a feature of some Northern Mannerist art, often called "Mannerist inversion".  The traditional moral of the Icarus story, warning against excessive ambition, is reinforced by  fore-grounding humbler figures who appear content to fill useful agricultural roles in life.

Prompt: イカロスの墜落のある風景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。

Brussels
Dutch and Flemish Renaissance painting
Early Netherlandish painting
Icarus
Joachim Patinir
Michael Hamburger
Ovid
Pieter Aertsen
Pieter Bruegel the Elder
Royal Museums of Fine Arts of Belgium
The Hunters in the Snow
W. H. Auden
William Carlos Williams


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イカロスの墜落のある風景

medium = Oil on canvas height_metric = 73.5 width_metric = 112 city = Brussels museum = Royal Museums of Fine Arts of Belgium}}ndscape with the Fall of Icarus is a painting in oil on canvas measuring  now in the Royal Museums of Fine Arts of Belgium in Brussels. It was long thought to be by the leading painter of Dutch and Flemish Renaissance painting, Pieter Bruegel the Elder. However, following technical examinations in 1996 of the painting hanging in the Brussels museum, that attribution is regarded as very doubtful, and the painting, perhaps painted in the 1560s, is now usually seen as a good early copy by an unknown artist of Bruegel's lost original, perhaps from about 1558.  According to the museum: "It is doubtful the execution is by Bruegel the Elder, but the composition can be said with certainty to be his", although recent technical research has re-opened the question.rgely derived from Ovid, the painting is described in W. H. Auden's famous poem "Musée des Beaux-Arts", named after the museum in Brussels which holds the painting, and became the subject of a poem of the same name by William Carlos Williams, as well as "Lines on Bruegel's 'Icarus'" by Michael Hamburger.Though the world landscape, a type of work with the title subject represented by small figures in the distance, was an established type in Early Netherlandish painting, pioneered by Joachim Patinir, to have a much larger unrelated "genre" figure in the foreground is original and represents something of a blow against the emerging hierarchy of genres.  Other landscapes by Bruegel, for example The Hunters in the Snow  and others in that series of paintings showing the seasons, show genre figures in a raised foreground, but not so large relative to the size of the image, nor with a subject from a "higher" class of painting in the background.However, paintings from the same period by the Antwerp artist Pieter Aertsen had large kitchen or market genre scenes, with large figures in the foreground, and in the distant background a glimpse of a scene from the Life of Christ.  Giving more prominence to "low" subject-matter than "high" in the same work is a feature of some Northern Mannerist art, often called "Mannerist inversion".  The traditional moral of the Icarus story, warning against excessive ambition, is reinforced by  fore-grounding humbler figures who appear content to fill useful agricultural roles in life.

Prompt: イカロスの墜落のある風景に関して、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。

Brussels
Dutch and Flemish Renaissance painting
Early Netherlandish painting
Icarus
Joachim Patinir
Michael Hamburger
Ovid
Pieter Aertsen
Pieter Bruegel the Elder
Royal Museums of Fine Arts of Belgium
The Hunters in the Snow
W. H. Auden
William Carlos Williams


section

イカロスの墜落のある風景

In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with beeswax.  Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. His legs can be seen in the water just below the ship. The sun, already half-set on the horizon, is a long way away; the flight did not reach anywhere near it. Daedalus does not appear in this version of the painting, though he does, still flying, in the van Buuren one .The ploughman, shepherd and angler are mentioned in Ovid's account of the legend; they are: "astonished and think to see gods approaching them through the aether", The painting may, as Auden's poem suggests, depict humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.

Prompt: イカロスの墜落のある風景に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

イカロスの墜落のある風景

In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with beeswax.  Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. His legs can be seen in the water just below the ship. The sun, already half-set on the horizon, is a long way away; the flight did not reach anywhere near it. Daedalus does not appear in this version of the painting, though he does, still flying, in the van Buuren one .The ploughman, shepherd and angler are mentioned in Ovid's account of the legend; they are: "astonished and think to see gods approaching them through the aether", The painting may, as Auden's poem suggests, depict humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.

Prompt: イカロスの墜落のある風景の説明を説明してください。英語で出力して下さい。


section

イカロスの墜落のある風景

In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with beeswax.  Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. His legs can be seen in the water just below the ship. The sun, already half-set on the horizon, is a long way away; the flight did not reach anywhere near it. Daedalus does not appear in this version of the painting, though he does, still flying, in the van Buuren one .The ploughman, shepherd and angler are mentioned in Ovid's account of the legend; they are: "astonished and think to see gods approaching them through the aether", The painting may, as Auden's poem suggests, depict humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.

Prompt: イカロスの墜落のある風景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

イカロスの墜落のある風景

In Greek mythology, Icarus succeeded in flying, with wings made by his father Daedalus, using feathers secured with beeswax.  Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax, and fell into the sea and drowned. His legs can be seen in the water just below the ship. The sun, already half-set on the horizon, is a long way away; the flight did not reach anywhere near it. Daedalus does not appear in this version of the painting, though he does, still flying, in the van Buuren one .The ploughman, shepherd and angler are mentioned in Ovid's account of the legend; they are: "astonished and think to see gods approaching them through the aether", The painting may, as Auden's poem suggests, depict humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.

Prompt: イカロスの墜落のある風景に関して、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

イカロスの墜落のある風景

The painting is probably a version of a lost original by Bruegel. A date of  has been suggested for the lost original, based on Bruegel's other works;The work was unknown until it was bought by the museum in 1912; subsequently another version on panel, generally considered inferior, turned up, which was acquired in 1953 by Daniel van Buuren for his private house, today a museum in Brussels.  In this, which excludes the far left and right sides of the composition, Icarus is in the water but Daedelus is still in the air, and the shepherd's gaze is directed at him, explaining one aspect of the composition of the other version.  The original would have been Bruegel's only known painting of a mythological subject. The perspective of the ship and figures is not entirely consistent, although this may enhance the power of the composition.  Bruegel also produced a design for an engraving with the ship and the two falling figures.Since its acquisition by the Museum in 1912, its authenticity has been challenged by several specialists, mainly for two reasons:  the relatively weak quality of the painting compared to other Bruegels, although this question is complicated by later overpainting;  it is an oil painting on canvas, an exception in the work of Peter Bruegel the Elder who made all his oil paintings on panel.In 1963, Philippe Roberts-Jones, curator at the museum, and the Bruegel specialist Georges Marlier, hypothesized that an original panel painting had been later moved onto canvas, as was once common.

Prompt: イカロスの墜落のある風景に焦点を当てて、その帰属を説明してください。英語で出力して下さい。


section

イカロスの墜落のある風景

The painting is probably a version of a lost original by Bruegel. A date of  has been suggested for the lost original, based on Bruegel's other works;The work was unknown until it was bought by the museum in 1912; subsequently another version on panel, generally considered inferior, turned up, which was acquired in 1953 by Daniel van Buuren for his private house, today a museum in Brussels.  In this, which excludes the far left and right sides of the composition, Icarus is in the water but Daedelus is still in the air, and the shepherd's gaze is directed at him, explaining one aspect of the composition of the other version.  The original would have been Bruegel's only known painting of a mythological subject. The perspective of the ship and figures is not entirely consistent, although this may enhance the power of the composition.  Bruegel also produced a design for an engraving with the ship and the two falling figures.Since its acquisition by the Museum in 1912, its authenticity has been challenged by several specialists, mainly for two reasons:  the relatively weak quality of the painting compared to other Bruegels, although this question is complicated by later overpainting;  it is an oil painting on canvas, an exception in the work of Peter Bruegel the Elder who made all his oil paintings on panel.In 1963, Philippe Roberts-Jones, curator at the museum, and the Bruegel specialist Georges Marlier, hypothesized that an original panel painting had been later moved onto canvas, as was once common.

Prompt: イカロスの墜落のある風景の帰属を説明してください。英語で出力して下さい。


section

イカロスの墜落のある風景

The painting is probably a version of a lost original by Bruegel. A date of  has been suggested for the lost original, based on Bruegel's other works;The work was unknown until it was bought by the museum in 1912; subsequently another version on panel, generally considered inferior, turned up, which was acquired in 1953 by Daniel van Buuren for his private house, today a museum in Brussels.  In this, which excludes the far left and right sides of the composition, Icarus is in the water but Daedelus is still in the air, and the shepherd's gaze is directed at him, explaining one aspect of the composition of the other version.  The original would have been Bruegel's only known painting of a mythological subject. The perspective of the ship and figures is not entirely consistent, although this may enhance the power of the composition.  Bruegel also produced a design for an engraving with the ship and the two falling figures.Since its acquisition by the Museum in 1912, its authenticity has been challenged by several specialists, mainly for two reasons:  the relatively weak quality of the painting compared to other Bruegels, although this question is complicated by later overpainting;  it is an oil painting on canvas, an exception in the work of Peter Bruegel the Elder who made all his oil paintings on panel.In 1963, Philippe Roberts-Jones, curator at the museum, and the Bruegel specialist Georges Marlier, hypothesized that an original panel painting had been later moved onto canvas, as was once common.

Prompt: イカロスの墜落のある風景はどのように帰属を説明していますか？英語で出力して下さい。


section

イカロスの墜落のある風景

The painting is probably a version of a lost original by Bruegel. A date of  has been suggested for the lost original, based on Bruegel's other works;The work was unknown until it was bought by the museum in 1912; subsequently another version on panel, generally considered inferior, turned up, which was acquired in 1953 by Daniel van Buuren for his private house, today a museum in Brussels.  In this, which excludes the far left and right sides of the composition, Icarus is in the water but Daedelus is still in the air, and the shepherd's gaze is directed at him, explaining one aspect of the composition of the other version.  The original would have been Bruegel's only known painting of a mythological subject. The perspective of the ship and figures is not entirely consistent, although this may enhance the power of the composition.  Bruegel also produced a design for an engraving with the ship and the two falling figures.Since its acquisition by the Museum in 1912, its authenticity has been challenged by several specialists, mainly for two reasons:  the relatively weak quality of the painting compared to other Bruegels, although this question is complicated by later overpainting;  it is an oil painting on canvas, an exception in the work of Peter Bruegel the Elder who made all his oil paintings on panel.In 1963, Philippe Roberts-Jones, curator at the museum, and the Bruegel specialist Georges Marlier, hypothesized that an original panel painting had been later moved onto canvas, as was once common.

Prompt: イカロスの墜落のある風景に関して、どのように帰属が議論されていますか？英語で出力して下さい。


section

イカロスの墜落のある風景

The painting is shown in Nicolas Roeg's film The Man Who Fell to Earth , where a character opens a book of paintings to an image of it. On the facing page a description points out that the scene remains calm, the event of the fall hardly noticed. The painting also figures into the Walter Tevis novel on which the film is based. The characters of Newton and Bryce discuss the painting near the end of chapter four, part two. Tevis also mentions the painting in his 1980 novel Mockingbird. In chapter five of the first section narrated by the character Mary Lou, the robot Spofforth brings the painting to her.Eric Steele, whose film The Bridge  documents the suicides of two-dozen people who jumped off the world's most popular suicide site – the Golden Gate Bridge – throughout 2004, has compared images captured in his documentary to those of Bruegel's ndscape With the Fall of Icarus, because the fatal leaps go almost unnoticed by passersby.Composer Brian Ferneyhough's 1988 chamber work  Chute d'Icare was inspired by the painting:The painting features prominently in Frank Ceruzzi's dystopian play Round Went the Wheel , where children take control of the world and use the painting and the Icarus myth as a way to teach the adult population about hubris and the dangers of technology.The painting was included in the 1980 television series 100 Great Paintings.The painting is mentioned by W. H. Auden in his 1938 poem, "Musée des Beaux Arts", in which Icarus's fall is perceived by the ploughman as "not an important failure".The painting is also the subject of the Titus Andronicus song "Upon Viewing Bruegel's ndscape with the Fall of Icarus":The painting appears in a background of the music video for the song Blood Sweat & Tears by South Korean group BTS. The video opens in a museum with another Bruegel painting, "The Fall of the Rebel Angels" featured prominently.

Prompt: イカロスの墜落のある風景に焦点を当てて、その他のメディアでの言及を説明してください。英語で出力して下さい。

100 Great Paintings
BTS
Brian Ferneyhough
Golden Gate Bridge
Icarus
Nicolas Roeg
South Korea
The Man Who Fell to Earth
W. H. Auden
Walter Tevis


section

イカロスの墜落のある風景

The painting is shown in Nicolas Roeg's film The Man Who Fell to Earth , where a character opens a book of paintings to an image of it. On the facing page a description points out that the scene remains calm, the event of the fall hardly noticed. The painting also figures into the Walter Tevis novel on which the film is based. The characters of Newton and Bryce discuss the painting near the end of chapter four, part two. Tevis also mentions the painting in his 1980 novel Mockingbird. In chapter five of the first section narrated by the character Mary Lou, the robot Spofforth brings the painting to her.Eric Steele, whose film The Bridge  documents the suicides of two-dozen people who jumped off the world's most popular suicide site – the Golden Gate Bridge – throughout 2004, has compared images captured in his documentary to those of Bruegel's ndscape With the Fall of Icarus, because the fatal leaps go almost unnoticed by passersby.Composer Brian Ferneyhough's 1988 chamber work  Chute d'Icare was inspired by the painting:The painting features prominently in Frank Ceruzzi's dystopian play Round Went the Wheel , where children take control of the world and use the painting and the Icarus myth as a way to teach the adult population about hubris and the dangers of technology.The painting was included in the 1980 television series 100 Great Paintings.The painting is mentioned by W. H. Auden in his 1938 poem, "Musée des Beaux Arts", in which Icarus's fall is perceived by the ploughman as "not an important failure".The painting is also the subject of the Titus Andronicus song "Upon Viewing Bruegel's ndscape with the Fall of Icarus":The painting appears in a background of the music video for the song Blood Sweat & Tears by South Korean group BTS. The video opens in a museum with another Bruegel painting, "The Fall of the Rebel Angels" featured prominently.

Prompt: イカロスの墜落のある風景の他のメディアでの言及を説明してください。英語で出力して下さい。

100 Great Paintings
BTS
Brian Ferneyhough
Golden Gate Bridge
Icarus
Nicolas Roeg
South Korea
The Man Who Fell to Earth
W. H. Auden
Walter Tevis


section

イカロスの墜落のある風景

The painting is shown in Nicolas Roeg's film The Man Who Fell to Earth , where a character opens a book of paintings to an image of it. On the facing page a description points out that the scene remains calm, the event of the fall hardly noticed. The painting also figures into the Walter Tevis novel on which the film is based. The characters of Newton and Bryce discuss the painting near the end of chapter four, part two. Tevis also mentions the painting in his 1980 novel Mockingbird. In chapter five of the first section narrated by the character Mary Lou, the robot Spofforth brings the painting to her.Eric Steele, whose film The Bridge  documents the suicides of two-dozen people who jumped off the world's most popular suicide site – the Golden Gate Bridge – throughout 2004, has compared images captured in his documentary to those of Bruegel's ndscape With the Fall of Icarus, because the fatal leaps go almost unnoticed by passersby.Composer Brian Ferneyhough's 1988 chamber work  Chute d'Icare was inspired by the painting:The painting features prominently in Frank Ceruzzi's dystopian play Round Went the Wheel , where children take control of the world and use the painting and the Icarus myth as a way to teach the adult population about hubris and the dangers of technology.The painting was included in the 1980 television series 100 Great Paintings.The painting is mentioned by W. H. Auden in his 1938 poem, "Musée des Beaux Arts", in which Icarus's fall is perceived by the ploughman as "not an important failure".The painting is also the subject of the Titus Andronicus song "Upon Viewing Bruegel's ndscape with the Fall of Icarus":The painting appears in a background of the music video for the song Blood Sweat & Tears by South Korean group BTS. The video opens in a museum with another Bruegel painting, "The Fall of the Rebel Angels" featured prominently.

Prompt: イカロスの墜落のある風景はどのように他のメディアでの言及を説明していますか？英語で出力して下さい。

100 Great Paintings
BTS
Brian Ferneyhough
Golden Gate Bridge
Icarus
Nicolas Roeg
South Korea
The Man Who Fell to Earth
W. H. Auden
Walter Tevis


section

イカロスの墜落のある風景

The painting is shown in Nicolas Roeg's film The Man Who Fell to Earth , where a character opens a book of paintings to an image of it. On the facing page a description points out that the scene remains calm, the event of the fall hardly noticed. The painting also figures into the Walter Tevis novel on which the film is based. The characters of Newton and Bryce discuss the painting near the end of chapter four, part two. Tevis also mentions the painting in his 1980 novel Mockingbird. In chapter five of the first section narrated by the character Mary Lou, the robot Spofforth brings the painting to her.Eric Steele, whose film The Bridge  documents the suicides of two-dozen people who jumped off the world's most popular suicide site – the Golden Gate Bridge – throughout 2004, has compared images captured in his documentary to those of Bruegel's ndscape With the Fall of Icarus, because the fatal leaps go almost unnoticed by passersby.Composer Brian Ferneyhough's 1988 chamber work  Chute d'Icare was inspired by the painting:The painting features prominently in Frank Ceruzzi's dystopian play Round Went the Wheel , where children take control of the world and use the painting and the Icarus myth as a way to teach the adult population about hubris and the dangers of technology.The painting was included in the 1980 television series 100 Great Paintings.The painting is mentioned by W. H. Auden in his 1938 poem, "Musée des Beaux Arts", in which Icarus's fall is perceived by the ploughman as "not an important failure".The painting is also the subject of the Titus Andronicus song "Upon Viewing Bruegel's ndscape with the Fall of Icarus":The painting appears in a background of the music video for the song Blood Sweat & Tears by South Korean group BTS. The video opens in a museum with another Bruegel painting, "The Fall of the Rebel Angels" featured prominently.

Prompt: イカロスの墜落のある風景に関して、どのように他のメディアでの言及が議論されていますか？英語で出力して下さい。

100 Great Paintings
BTS
Brian Ferneyhough
Golden Gate Bridge
Icarus
Nicolas Roeg
South Korea
The Man Who Fell to Earth
W. H. Auden
Walter Tevis


section

イカロスの墜落のある風景

de Vries, Lyckle, "Bruegel's "Fall of Icarus": Ovid or Solomon?", Simiolus: Netherlands Quarterly for the History of Art, Vol. 30, No. 1/2 , pp. 4–18, Stichting voor Nederlandse Kunsthistorische Publicaties,

Prompt: イカロスの墜落のある風景に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

イカロスの墜落のある風景

de Vries, Lyckle, "Bruegel's "Fall of Icarus": Ovid or Solomon?", Simiolus: Netherlands Quarterly for the History of Art, Vol. 30, No. 1/2 , pp. 4–18, Stichting voor Nederlandse Kunsthistorische Publicaties,

Prompt: イカロスの墜落のある風景のさらなる読書を説明してください。英語で出力して下さい。


section

イカロスの墜落のある風景

de Vries, Lyckle, "Bruegel's "Fall of Icarus": Ovid or Solomon?", Simiolus: Netherlands Quarterly for the History of Art, Vol. 30, No. 1/2 , pp. 4–18, Stichting voor Nederlandse Kunsthistorische Publicaties,

Prompt: イカロスの墜落のある風景はどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

イカロスの墜落のある風景

de Vries, Lyckle, "Bruegel's "Fall of Icarus": Ovid or Solomon?", Simiolus: Netherlands Quarterly for the History of Art, Vol. 30, No. 1/2 , pp. 4–18, Stichting voor Nederlandse Kunsthistorische Publicaties,

Prompt: イカロスの墜落のある風景に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


subsection

イカロスの墜落のある風景

In 1998, a mixed team of scientists from the Belgian Royal Institute for Cultural Heritage and the University of UtrechtA sample of blue paint taken from the right edge in 1973 was re-examined by performing analysis such as scanning electron microscopy  coupled to the energy dispersive X-ray spectroscopy , which in connection with optical microscopy revealed the following structure and composition. From bottom to top:# Canvas ;# Oily lead white ;# Thick oily layer with azurite ;# Chalk ground;# Oily lead white with scarce particles of charcoal;# Oily blue with azurite;with layers 4 to 6 being original.The presence of chalk ground under the original blue proves that this is a panel painting transposed on a canvas.The original blue layer is lead white with azurite containing a few grains of ochre and charcoal. These structure and composition match perfectly those found on other certified panels of Peter Bruegel. Moreover, it is noticeable that the wood charcoal particles are very peculiar, being very long and acicular, exactly the same as those found only in The Census from the same Museum.Recently, a study of the underdrawing using infrared reflectography has been published. Reflectography is based on the fact that the infrared light penetrates all colors except black. As a result, the drawing, mostly black, can be made visible. The interpretation of these reflectograms is of course more subjective, but in a global way, the drawing from the Fall of Icarus is not really different from other certified works from Peter Bruegel the Elder. This drawing is generally limited to a layout of the elements, probably  because the thin, weakly covering paint on white ground would hide imperfectly a detailed graphism.A re-interpretation of the reflectograms in agreement with the other analysis suggested the conclusion that the work in the Museum of Fine Arts in Brussels is a panel painting transferred to canvas. The paint layer and maybe also the underdrawing have been severely damaged by this intervention as well as by two more relinings, responsible for the heavy overpainting. In the paint sample remains a fragment with structure and composition matching perfectly the technique of the large panels attributed to Peter Bruegel the Elder. It is therefore unlikely that this version of the Fall of Icarus might be from the hand of a copyist, except perhaps from P. Bruegel the Younger. Conversely, the Van Buuren copy with a different technique cannot be attributed to either Peter Bruegel.

Prompt: イカロスの墜落のある風景の文脈で、科学的試験と帰属を説明してください。英語で出力して下さい。

Brussels
Canvas
Icarus
Royal Institute for Cultural Heritage


subsection

イカロスの墜落のある風景

In 1998, a mixed team of scientists from the Belgian Royal Institute for Cultural Heritage and the University of UtrechtA sample of blue paint taken from the right edge in 1973 was re-examined by performing analysis such as scanning electron microscopy  coupled to the energy dispersive X-ray spectroscopy , which in connection with optical microscopy revealed the following structure and composition. From bottom to top:# Canvas ;# Oily lead white ;# Thick oily layer with azurite ;# Chalk ground;# Oily lead white with scarce particles of charcoal;# Oily blue with azurite;with layers 4 to 6 being original.The presence of chalk ground under the original blue proves that this is a panel painting transposed on a canvas.The original blue layer is lead white with azurite containing a few grains of ochre and charcoal. These structure and composition match perfectly those found on other certified panels of Peter Bruegel. Moreover, it is noticeable that the wood charcoal particles are very peculiar, being very long and acicular, exactly the same as those found only in The Census from the same Museum.Recently, a study of the underdrawing using infrared reflectography has been published. Reflectography is based on the fact that the infrared light penetrates all colors except black. As a result, the drawing, mostly black, can be made visible. The interpretation of these reflectograms is of course more subjective, but in a global way, the drawing from the Fall of Icarus is not really different from other certified works from Peter Bruegel the Elder. This drawing is generally limited to a layout of the elements, probably  because the thin, weakly covering paint on white ground would hide imperfectly a detailed graphism.A re-interpretation of the reflectograms in agreement with the other analysis suggested the conclusion that the work in the Museum of Fine Arts in Brussels is a panel painting transferred to canvas. The paint layer and maybe also the underdrawing have been severely damaged by this intervention as well as by two more relinings, responsible for the heavy overpainting. In the paint sample remains a fragment with structure and composition matching perfectly the technique of the large panels attributed to Peter Bruegel the Elder. It is therefore unlikely that this version of the Fall of Icarus might be from the hand of a copyist, except perhaps from P. Bruegel the Younger. Conversely, the Van Buuren copy with a different technique cannot be attributed to either Peter Bruegel.

Prompt: イカロスの墜落のある風景の帰属に関する科学的試験を説明してください。英語で出力して下さい。

Brussels
Canvas
Icarus
Royal Institute for Cultural Heritage


subsection

イカロスの墜落のある風景

In 1998, a mixed team of scientists from the Belgian Royal Institute for Cultural Heritage and the University of UtrechtA sample of blue paint taken from the right edge in 1973 was re-examined by performing analysis such as scanning electron microscopy  coupled to the energy dispersive X-ray spectroscopy , which in connection with optical microscopy revealed the following structure and composition. From bottom to top:# Canvas ;# Oily lead white ;# Thick oily layer with azurite ;# Chalk ground;# Oily lead white with scarce particles of charcoal;# Oily blue with azurite;with layers 4 to 6 being original.The presence of chalk ground under the original blue proves that this is a panel painting transposed on a canvas.The original blue layer is lead white with azurite containing a few grains of ochre and charcoal. These structure and composition match perfectly those found on other certified panels of Peter Bruegel. Moreover, it is noticeable that the wood charcoal particles are very peculiar, being very long and acicular, exactly the same as those found only in The Census from the same Museum.Recently, a study of the underdrawing using infrared reflectography has been published. Reflectography is based on the fact that the infrared light penetrates all colors except black. As a result, the drawing, mostly black, can be made visible. The interpretation of these reflectograms is of course more subjective, but in a global way, the drawing from the Fall of Icarus is not really different from other certified works from Peter Bruegel the Elder. This drawing is generally limited to a layout of the elements, probably  because the thin, weakly covering paint on white ground would hide imperfectly a detailed graphism.A re-interpretation of the reflectograms in agreement with the other analysis suggested the conclusion that the work in the Museum of Fine Arts in Brussels is a panel painting transferred to canvas. The paint layer and maybe also the underdrawing have been severely damaged by this intervention as well as by two more relinings, responsible for the heavy overpainting. In the paint sample remains a fragment with structure and composition matching perfectly the technique of the large panels attributed to Peter Bruegel the Elder. It is therefore unlikely that this version of the Fall of Icarus might be from the hand of a copyist, except perhaps from P. Bruegel the Younger. Conversely, the Van Buuren copy with a different technique cannot be attributed to either Peter Bruegel.

Prompt: イカロスの墜落のある風景では、どのように帰属の科学的試験が説明されていますか？英語で出力して下さい。

Brussels
Canvas
Icarus
Royal Institute for Cultural Heritage


subsection

イカロスの墜落のある風景

In 1998, a mixed team of scientists from the Belgian Royal Institute for Cultural Heritage and the University of UtrechtA sample of blue paint taken from the right edge in 1973 was re-examined by performing analysis such as scanning electron microscopy  coupled to the energy dispersive X-ray spectroscopy , which in connection with optical microscopy revealed the following structure and composition. From bottom to top:# Canvas ;# Oily lead white ;# Thick oily layer with azurite ;# Chalk ground;# Oily lead white with scarce particles of charcoal;# Oily blue with azurite;with layers 4 to 6 being original.The presence of chalk ground under the original blue proves that this is a panel painting transposed on a canvas.The original blue layer is lead white with azurite containing a few grains of ochre and charcoal. These structure and composition match perfectly those found on other certified panels of Peter Bruegel. Moreover, it is noticeable that the wood charcoal particles are very peculiar, being very long and acicular, exactly the same as those found only in The Census from the same Museum.Recently, a study of the underdrawing using infrared reflectography has been published. Reflectography is based on the fact that the infrared light penetrates all colors except black. As a result, the drawing, mostly black, can be made visible. The interpretation of these reflectograms is of course more subjective, but in a global way, the drawing from the Fall of Icarus is not really different from other certified works from Peter Bruegel the Elder. This drawing is generally limited to a layout of the elements, probably  because the thin, weakly covering paint on white ground would hide imperfectly a detailed graphism.A re-interpretation of the reflectograms in agreement with the other analysis suggested the conclusion that the work in the Museum of Fine Arts in Brussels is a panel painting transferred to canvas. The paint layer and maybe also the underdrawing have been severely damaged by this intervention as well as by two more relinings, responsible for the heavy overpainting. In the paint sample remains a fragment with structure and composition matching perfectly the technique of the large panels attributed to Peter Bruegel the Elder. It is therefore unlikely that this version of the Fall of Icarus might be from the hand of a copyist, except perhaps from P. Bruegel the Younger. Conversely, the Van Buuren copy with a different technique cannot be attributed to either Peter Bruegel.

Prompt: イカロスの墜落のある風景の帰属における科学的試験の特徴を説明してください。英語で出力して下さい。

Brussels
Canvas
Icarus
Royal Institute for Cultural Heritage


section

無口な女

The Portrait of a Young Woman, also known as  Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael,  Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

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

Caravaggio
Ingrid D. Rowland
Raphael
Renaissance
Urbino


section

無口な女

The Portrait of a Young Woman, also known as  Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael,  Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Prompt: 無口な女の抽象を説明してください。英語で出力して下さい。

Caravaggio
Ingrid D. Rowland
Raphael
Renaissance
Urbino


section

無口な女

The Portrait of a Young Woman, also known as  Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael,  Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Prompt: 無口な女はどのように抽象を説明していますか？英語で出力して下さい。

Caravaggio
Ingrid D. Rowland
Raphael
Renaissance
Urbino


section

無口な女

The Portrait of a Young Woman, also known as  Muta, is an oil on wood portrait by the Italian Renaissance artist Raphael, executed c. 1507–1508. It is housed in the Galleria Nazionale delle Marche, in Urbino.The picture portrays an unknown noblewoman over a near-black background, showing some Leonardesque influences. Ingrid D. Rowland writes that "the vivid contrast between dark background and luminous skin ... would one day inspire Michelangelo Merisi da Caravaggio to change his palette — in Rome — and become the Caravaggio we know best." Although only recently attributed to Raphael,  Muta is ranked among the best portraits by his hand.The neatness of the large areas of colour that emerge in lighter tones from the background, and the analytical treatment of the details of the woman's clothing, are characteristic of Raphael. The dispersive effect of this attention to detail is fully compensated by the tones of colour — used here in a fairly limited range — which unify the composition as a whole.Nicoletta Baldini describes the hands in this portrait as "vibratile," distinguishing it from those painted by Michelangelo or Da Vinci. Ingrid D. Rowland writes that the "austerely attractive young noblewoman ... is poking her index finger against the edge of the picture, literally, and knowingly, pushing its envelope of illusion — hence the mischievous glint in her eye."X-ray analysis has shown the presence of an early Raphael drawing under the painting, of a female, young face with soft features, with later modifications.

Prompt: 無口な女に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Caravaggio
Ingrid D. Rowland
Raphael
Renaissance
Urbino


section

無口な女

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


section

無口な女

Prompt: 無口な女の参照を説明してください。英語で出力して下さい。


section

無口な女

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


section

無口な女

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


section

聖家族

type = Oil and tempera on panel diameter_metric = 120 metric_unit = cm diameter_imperial =  imperial_unit = in city = Florence museum = Uffizi preceded_by = The Entombment  followed_by = Battle of Cascina }}The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive.  Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian 'round', a shape which is frequently associated during the Renaissance with domestic ideas.The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family  in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

Prompt: 聖家族に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Florence
Holy Family
Italy
John the Baptist
Michelangelo
Renaissance
John the Baptist
Sistine Chapel
Sistine Chapel ceiling
Uffizi


section

聖家族

type = Oil and tempera on panel diameter_metric = 120 metric_unit = cm diameter_imperial =  imperial_unit = in city = Florence museum = Uffizi preceded_by = The Entombment  followed_by = Battle of Cascina }}The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive.  Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian 'round', a shape which is frequently associated during the Renaissance with domestic ideas.The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family  in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

Prompt: 聖家族の抽象を説明してください。英語で出力して下さい。

Florence
Holy Family
Italy
John the Baptist
Michelangelo
Renaissance
John the Baptist
Sistine Chapel
Sistine Chapel ceiling
Uffizi


section

聖家族

type = Oil and tempera on panel diameter_metric = 120 metric_unit = cm diameter_imperial =  imperial_unit = in city = Florence museum = Uffizi preceded_by = The Entombment  followed_by = Battle of Cascina }}The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive.  Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian 'round', a shape which is frequently associated during the Renaissance with domestic ideas.The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family  in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

Prompt: 聖家族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。

Florence
Holy Family
Italy
John the Baptist
Michelangelo
Renaissance
John the Baptist
Sistine Chapel
Sistine Chapel ceiling
Uffizi


section

聖家族

type = Oil and tempera on panel diameter_metric = 120 metric_unit = cm diameter_imperial =  imperial_unit = in city = Florence museum = Uffizi preceded_by = The Entombment  followed_by = Battle of Cascina }}The Doni Tondo or Doni Madonna is the only finished panel painting by the mature Michelangelo to survive.  Now in the Uffizi in Florence, Italy, and still in its original frame, the Doni Tondo was probably commissioned by Agnolo Doni to commemorate his marriage to Maddalena Strozzi, the daughter of a powerful Tuscan family. The painting is in the form of a tondo, meaning in Italian 'round', a shape which is frequently associated during the Renaissance with domestic ideas.The work was probably created during the period after Doni's marriage in 1503 or 1504, and before the Sistine Chapel ceiling frescoes were begun in 1508. The Doni Tondo portrays the Holy Family  in the foreground, along with John the Baptist in the middle-ground, and contains five nude male figures in the background. The inclusion of these nude figures has been interpreted in a variety of ways.

Prompt: 聖家族に関して、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。

Florence
Holy Family
Italy
John the Baptist
Michelangelo
Renaissance
John the Baptist
Sistine Chapel
Sistine Chapel ceiling
Uffizi