section

黒の正方形

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus , which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis  and representational art.

Prompt: 黒の正方形に関して、どのように解釈が議論されていますか？英語で出力して下さい。


section

黒の正方形

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Prompt: 黒の正方形に焦点を当てて、その影響を説明してください。英語で出力して下さい。

Aryan
Avant-garde
Berlin
Grosse Kunstausstellung
Joseph Stalin
Modern art


section

黒の正方形

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Prompt: 黒の正方形の影響を説明してください。英語で出力して下さい。

Aryan
Avant-garde
Berlin
Grosse Kunstausstellung
Joseph Stalin
Modern art


section

黒の正方形

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Prompt: 黒の正方形はどのように影響を説明していますか？英語で出力して下さい。

Aryan
Avant-garde
Berlin
Grosse Kunstausstellung
Joseph Stalin
Modern art


section

黒の正方形

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.

Prompt: 黒の正方形に関して、どのように影響が議論されていますか？英語で出力して下さい。

Aryan
Avant-garde
Berlin
Grosse Kunstausstellung
Joseph Stalin
Modern art


section

黒の正方形

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Prompt: 黒の正方形に焦点を当てて、その条件を説明してください。英語で出力して下さい。


section

黒の正方形

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Prompt: 黒の正方形の条件を説明してください。英語で出力して下さい。


section

黒の正方形

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Prompt: 黒の正方形はどのように条件を説明していますか？英語で出力して下さい。


section

黒の正方形

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."

Prompt: 黒の正方形に関して、どのように条件が議論されていますか？英語で出力して下さい。


section

黒の正方形

Blanshard, Frances Bradshaw. "Retreat from Likeness in the Theory of Painting". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. "Unframe Malevich!: Ineffability and Sublimity in Suprematism". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. "Kazimir Malevich". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. "Black Square: Malevich and the Origin of Suprematism". Yale University Press, 2012

Prompt: 黒の正方形に焦点を当てて、その情報源を説明してください。英語で出力して下さい。

Kazimir Malevich
Suprematism
Suprematism
Ukraine


section

黒の正方形

Blanshard, Frances Bradshaw. "Retreat from Likeness in the Theory of Painting". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. "Unframe Malevich!: Ineffability and Sublimity in Suprematism". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. "Kazimir Malevich". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. "Black Square: Malevich and the Origin of Suprematism". Yale University Press, 2012

Prompt: 黒の正方形の情報源を説明してください。英語で出力して下さい。

Kazimir Malevich
Suprematism
Suprematism
Ukraine


section

黒の正方形

Blanshard, Frances Bradshaw. "Retreat from Likeness in the Theory of Painting". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. "Unframe Malevich!: Ineffability and Sublimity in Suprematism". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. "Kazimir Malevich". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. "Black Square: Malevich and the Origin of Suprematism". Yale University Press, 2012

Prompt: 黒の正方形はどのように情報源を説明していますか？英語で出力して下さい。

Kazimir Malevich
Suprematism
Suprematism
Ukraine


section

黒の正方形

Blanshard, Frances Bradshaw. "Retreat from Likeness in the Theory of Painting". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. "Unframe Malevich!: Ineffability and Sublimity in Suprematism". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. "Kazimir Malevich". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. "Black Square: Malevich and the Origin of Suprematism". Yale University Press, 2012

Prompt: 黒の正方形に関して、どのように情報源が議論されていますか？英語で出力して下さい。

Kazimir Malevich
Suprematism
Suprematism
Ukraine


subsection

黒の正方形

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Prompt: 黒の正方形の文脈で、バージョンと解釈を説明してください。英語で出力して下さい。


subsection

黒の正方形

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Prompt: 黒の正方形の解釈に関するバージョンを説明してください。英語で出力して下さい。


subsection

黒の正方形

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Prompt: 黒の正方形では、どのように解釈のバージョンが説明されていますか？英語で出力して下さい。


subsection

黒の正方形

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.

Prompt: 黒の正方形の解釈におけるバージョンの特徴を説明してください。英語で出力して下さい。


section

聖エミディウスのいる受胎告知

The Annunciation, with Saint Emidius is an altarpiece by Italian artist Carlo Crivelli showing an artistic adaptation of the Annunciation. It was painted for the Church of SS. Annunziata in the Italian town of Ascoli Piceno, in the region of Marche, to celebrate the self-government granted to the town in 1482 by Pope Sixtus IV. The painting was removed to the Pinacoteca di Brera in Milan in 1811, but passed to Auguste-Louis de Sivry in 1820, and had reached England by the mid-19th century. It has been housed in the National Gallery in London since it was donated by Henry bouchere, 1st Baron Taunton in 1864.

Prompt: 聖エミディウスのいる受胎告知に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Annunciation
Ascoli Piceno
Auguste-Louis de Sivry
Carlo Crivelli
London
Marche
National Gallery
Pinacoteca di Brera
Pope Sixtus IV


section

聖エミディウスのいる受胎告知

The Annunciation, with Saint Emidius is an altarpiece by Italian artist Carlo Crivelli showing an artistic adaptation of the Annunciation. It was painted for the Church of SS. Annunziata in the Italian town of Ascoli Piceno, in the region of Marche, to celebrate the self-government granted to the town in 1482 by Pope Sixtus IV. The painting was removed to the Pinacoteca di Brera in Milan in 1811, but passed to Auguste-Louis de Sivry in 1820, and had reached England by the mid-19th century. It has been housed in the National Gallery in London since it was donated by Henry bouchere, 1st Baron Taunton in 1864.

Prompt: 聖エミディウスのいる受胎告知の抽象を説明してください。英語で出力して下さい。

Annunciation
Ascoli Piceno
Auguste-Louis de Sivry
Carlo Crivelli
London
Marche
National Gallery
Pinacoteca di Brera
Pope Sixtus IV


section

聖エミディウスのいる受胎告知

The Annunciation, with Saint Emidius is an altarpiece by Italian artist Carlo Crivelli showing an artistic adaptation of the Annunciation. It was painted for the Church of SS. Annunziata in the Italian town of Ascoli Piceno, in the region of Marche, to celebrate the self-government granted to the town in 1482 by Pope Sixtus IV. The painting was removed to the Pinacoteca di Brera in Milan in 1811, but passed to Auguste-Louis de Sivry in 1820, and had reached England by the mid-19th century. It has been housed in the National Gallery in London since it was donated by Henry bouchere, 1st Baron Taunton in 1864.

Prompt: 聖エミディウスのいる受胎告知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。

Annunciation
Ascoli Piceno
Auguste-Louis de Sivry
Carlo Crivelli
London
Marche
National Gallery
Pinacoteca di Brera
Pope Sixtus IV


section

聖エミディウスのいる受胎告知

The Annunciation, with Saint Emidius is an altarpiece by Italian artist Carlo Crivelli showing an artistic adaptation of the Annunciation. It was painted for the Church of SS. Annunziata in the Italian town of Ascoli Piceno, in the region of Marche, to celebrate the self-government granted to the town in 1482 by Pope Sixtus IV. The painting was removed to the Pinacoteca di Brera in Milan in 1811, but passed to Auguste-Louis de Sivry in 1820, and had reached England by the mid-19th century. It has been housed in the National Gallery in London since it was donated by Henry bouchere, 1st Baron Taunton in 1864.

Prompt: 聖エミディウスのいる受胎告知に関して、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。

Annunciation
Ascoli Piceno
Auguste-Louis de Sivry
Carlo Crivelli
London
Marche
National Gallery
Pinacoteca di Brera
Pope Sixtus IV


section

聖エミディウスのいる受胎告知

The light ray from the sky represents Mary receiving Jesus Christ into her womb by the Holy Spirit. The closed passage into the depth at the left and the flask of pure water in Mary's bedroom conventionally refer to Mary's virginity. According to historian Massimo Polidoro, the circular form in the sky is "a vortex of angels in the clouds, another frequent representation of God in Medieval and Renaissance sacred works of art". Polidoro calls the UFO explanation, "reinterpreting with the eyes of twenty-first-century Europeans the product of other cultures".The inscriptions on the bottom read ″.

Prompt: 聖エミディウスのいる受胎告知に焦点を当てて、そのテーマを説明してください。英語で出力して下さい。


section

聖エミディウスのいる受胎告知

The light ray from the sky represents Mary receiving Jesus Christ into her womb by the Holy Spirit. The closed passage into the depth at the left and the flask of pure water in Mary's bedroom conventionally refer to Mary's virginity. According to historian Massimo Polidoro, the circular form in the sky is "a vortex of angels in the clouds, another frequent representation of God in Medieval and Renaissance sacred works of art". Polidoro calls the UFO explanation, "reinterpreting with the eyes of twenty-first-century Europeans the product of other cultures".The inscriptions on the bottom read ″.

Prompt: 聖エミディウスのいる受胎告知のテーマを説明してください。英語で出力して下さい。


section

聖エミディウスのいる受胎告知

The light ray from the sky represents Mary receiving Jesus Christ into her womb by the Holy Spirit. The closed passage into the depth at the left and the flask of pure water in Mary's bedroom conventionally refer to Mary's virginity. According to historian Massimo Polidoro, the circular form in the sky is "a vortex of angels in the clouds, another frequent representation of God in Medieval and Renaissance sacred works of art". Polidoro calls the UFO explanation, "reinterpreting with the eyes of twenty-first-century Europeans the product of other cultures".The inscriptions on the bottom read ″.

Prompt: 聖エミディウスのいる受胎告知はどのようにテーマを説明していますか？英語で出力して下さい。


section

聖エミディウスのいる受胎告知

The light ray from the sky represents Mary receiving Jesus Christ into her womb by the Holy Spirit. The closed passage into the depth at the left and the flask of pure water in Mary's bedroom conventionally refer to Mary's virginity. According to historian Massimo Polidoro, the circular form in the sky is "a vortex of angels in the clouds, another frequent representation of God in Medieval and Renaissance sacred works of art". Polidoro calls the UFO explanation, "reinterpreting with the eyes of twenty-first-century Europeans the product of other cultures".The inscriptions on the bottom read ″.

Prompt: 聖エミディウスのいる受胎告知に関して、どのようにテーマが議論されていますか？英語で出力して下さい。


section

マリア・トリップの肖像

Portrait of Maria Trip  is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Prompt: マリア・トリップの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Hofstede de Groot
Rembrandt
Rijksmuseum


section

マリア・トリップの肖像

Portrait of Maria Trip  is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Prompt: マリア・トリップの肖像の抽象を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Hofstede de Groot
Rembrandt
Rijksmuseum


section

マリア・トリップの肖像

Portrait of Maria Trip  is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Prompt: マリア・トリップの肖像はどのように抽象を説明していますか？英語で出力して下さい。

Dutch Golden Age painting
Hofstede de Groot
Rembrandt
Rijksmuseum


section

マリア・トリップの肖像

Portrait of Maria Trip  is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Prompt: マリア・トリップの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Dutch Golden Age painting
Hofstede de Groot
Rembrandt
Rijksmuseum


section

マリア・トリップの肖像

Prompt: マリア・トリップの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of paintings by Rembrandt
Rembrandt


section

マリア・トリップの肖像

Prompt: マリア・トリップの肖像の参照を説明してください。英語で出力して下さい。

List of paintings by Rembrandt
Rembrandt


section

マリア・トリップの肖像

Prompt: マリア・トリップの肖像はどのように参照を説明していますか？英語で出力して下さい。

List of paintings by Rembrandt
Rembrandt


section

マリア・トリップの肖像

Prompt: マリア・トリップの肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。

List of paintings by Rembrandt
Rembrandt


section

パッセリーニの聖母被昇天

Passerini Assumption  is an oil-on-panel painting executed in 1526 by Italian Renaissance artist Andrea del Sarto. It is housed in the Galleria Palatina of Palazzo Pitti, Florence, Italy.

Prompt: パッセリーニの聖母被昇天に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Andrea del Sarto
Florence
Palazzo Pitti
Italy
Palazzo Pitti


section

パッセリーニの聖母被昇天

Passerini Assumption  is an oil-on-panel painting executed in 1526 by Italian Renaissance artist Andrea del Sarto. It is housed in the Galleria Palatina of Palazzo Pitti, Florence, Italy.

Prompt: パッセリーニの聖母被昇天の抽象を説明してください。英語で出力して下さい。

Andrea del Sarto
Florence
Palazzo Pitti
Italy
Palazzo Pitti


section

パッセリーニの聖母被昇天

Passerini Assumption  is an oil-on-panel painting executed in 1526 by Italian Renaissance artist Andrea del Sarto. It is housed in the Galleria Palatina of Palazzo Pitti, Florence, Italy.

Prompt: パッセリーニの聖母被昇天はどのように抽象を説明していますか？英語で出力して下さい。

Andrea del Sarto
Florence
Palazzo Pitti
Italy
Palazzo Pitti


section

パッセリーニの聖母被昇天

Passerini Assumption  is an oil-on-panel painting executed in 1526 by Italian Renaissance artist Andrea del Sarto. It is housed in the Galleria Palatina of Palazzo Pitti, Florence, Italy.

Prompt: パッセリーニの聖母被昇天に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Andrea del Sarto
Florence
Palazzo Pitti
Italy
Palazzo Pitti


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パッセリーニの聖母被昇天

The work was commissioned by Margherita Passerini for her private altar in church of Santa Maria fuori le mura at Cortona: the contract is dated 1526, for a price of 155 florins. In 1553 the friars of that church moved, together with their properties including this artwork, to the church of Sant'Antonio dei Servi. In 1639 the panel was acquired by Grand Duke Ferdinand II de' Medici; a copy paid by him to remain in the church is now in the Diocesan Museum of Cortona. the work later was moved to the current location, in pair with the similar Panciatichi Assumption also by Andrea del Sarto.

Prompt: パッセリーニの聖母被昇天に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Andrea del Sarto
Cortona
Panciatichi Assumption


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パッセリーニの聖母被昇天

The work was commissioned by Margherita Passerini for her private altar in church of Santa Maria fuori le mura at Cortona: the contract is dated 1526, for a price of 155 florins. In 1553 the friars of that church moved, together with their properties including this artwork, to the church of Sant'Antonio dei Servi. In 1639 the panel was acquired by Grand Duke Ferdinand II de' Medici; a copy paid by him to remain in the church is now in the Diocesan Museum of Cortona. the work later was moved to the current location, in pair with the similar Panciatichi Assumption also by Andrea del Sarto.

Prompt: パッセリーニの聖母被昇天の歴史を説明してください。英語で出力して下さい。

Andrea del Sarto
Cortona
Panciatichi Assumption


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パッセリーニの聖母被昇天

The work was commissioned by Margherita Passerini for her private altar in church of Santa Maria fuori le mura at Cortona: the contract is dated 1526, for a price of 155 florins. In 1553 the friars of that church moved, together with their properties including this artwork, to the church of Sant'Antonio dei Servi. In 1639 the panel was acquired by Grand Duke Ferdinand II de' Medici; a copy paid by him to remain in the church is now in the Diocesan Museum of Cortona. the work later was moved to the current location, in pair with the similar Panciatichi Assumption also by Andrea del Sarto.

Prompt: パッセリーニの聖母被昇天はどのように歴史を説明していますか？英語で出力して下さい。

Andrea del Sarto
Cortona
Panciatichi Assumption


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パッセリーニの聖母被昇天

The work was commissioned by Margherita Passerini for her private altar in church of Santa Maria fuori le mura at Cortona: the contract is dated 1526, for a price of 155 florins. In 1553 the friars of that church moved, together with their properties including this artwork, to the church of Sant'Antonio dei Servi. In 1639 the panel was acquired by Grand Duke Ferdinand II de' Medici; a copy paid by him to remain in the church is now in the Diocesan Museum of Cortona. the work later was moved to the current location, in pair with the similar Panciatichi Assumption also by Andrea del Sarto.

Prompt: パッセリーニの聖母被昇天に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Andrea del Sarto
Cortona
Panciatichi Assumption


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パッセリーニの聖母被昇天

Andrea del Sarto painted this work using his previous Panciatichi Assumption as model. The few variants include the dark background, instead of a landscape, the different position of Mary and the angels around her, and the replacement of the right kneeling apostle with Blessed Margaret of Cortona, who was the donor's protector. The left apostle was replaced by St. Nicholas, patron of the donor's father or dead son.At the time of the execution of this version, Andrea del Sarto was already married, and  Mary's face is likely a portrait of his wife.

Prompt: パッセリーニの聖母被昇天に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Andrea del Sarto
Cortona
Margaret of Cortona
Panciatichi Assumption


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パッセリーニの聖母被昇天

Andrea del Sarto painted this work using his previous Panciatichi Assumption as model. The few variants include the dark background, instead of a landscape, the different position of Mary and the angels around her, and the replacement of the right kneeling apostle with Blessed Margaret of Cortona, who was the donor's protector. The left apostle was replaced by St. Nicholas, patron of the donor's father or dead son.At the time of the execution of this version, Andrea del Sarto was already married, and  Mary's face is likely a portrait of his wife.

Prompt: パッセリーニの聖母被昇天の説明を説明してください。英語で出力して下さい。

Andrea del Sarto
Cortona
Margaret of Cortona
Panciatichi Assumption


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パッセリーニの聖母被昇天

Andrea del Sarto painted this work using his previous Panciatichi Assumption as model. The few variants include the dark background, instead of a landscape, the different position of Mary and the angels around her, and the replacement of the right kneeling apostle with Blessed Margaret of Cortona, who was the donor's protector. The left apostle was replaced by St. Nicholas, patron of the donor's father or dead son.At the time of the execution of this version, Andrea del Sarto was already married, and  Mary's face is likely a portrait of his wife.

Prompt: パッセリーニの聖母被昇天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。

Andrea del Sarto
Cortona
Margaret of Cortona
Panciatichi Assumption


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パッセリーニの聖母被昇天

Andrea del Sarto painted this work using his previous Panciatichi Assumption as model. The few variants include the dark background, instead of a landscape, the different position of Mary and the angels around her, and the replacement of the right kneeling apostle with Blessed Margaret of Cortona, who was the donor's protector. The left apostle was replaced by St. Nicholas, patron of the donor's father or dead son.At the time of the execution of this version, Andrea del Sarto was already married, and  Mary's face is likely a portrait of his wife.

Prompt: パッセリーニの聖母被昇天に関して、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。

Andrea del Sarto
Cortona
Margaret of Cortona
Panciatichi Assumption


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パッセリーニの聖母被昇天

Category:1526 paintingsCategory:Paintings in the Galleria PalatinaCategory:Paintings by Andrea del SartoCategory:Paintings of the Virgin MaryCategory:Christian art about deathCategory:Paintings about deathCategory:Paintings of apostlesCategory:AltarpiecesCategory:Angels in art

Prompt: パッセリーニの聖母被昇天に焦点を当てて、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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パッセリーニの聖母被昇天

Category:1526 paintingsCategory:Paintings in the Galleria PalatinaCategory:Paintings by Andrea del SartoCategory:Paintings of the Virgin MaryCategory:Christian art about deathCategory:Paintings about deathCategory:Paintings of apostlesCategory:AltarpiecesCategory:Angels in art

Prompt: パッセリーニの聖母被昇天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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パッセリーニの聖母被昇天

Category:1526 paintingsCategory:Paintings in the Galleria PalatinaCategory:Paintings by Andrea del SartoCategory:Paintings of the Virgin MaryCategory:Christian art about deathCategory:Paintings about deathCategory:Paintings of apostlesCategory:AltarpiecesCategory:Angels in art

Prompt: パッセリーニの聖母被昇天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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パッセリーニの聖母被昇天

Category:1526 paintingsCategory:Paintings in the Galleria PalatinaCategory:Paintings by Andrea del SartoCategory:Paintings of the Virgin MaryCategory:Christian art about deathCategory:Paintings about deathCategory:Paintings of apostlesCategory:AltarpiecesCategory:Angels in art

Prompt: パッセリーニの聖母被昇天に関して、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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サンタ・クルス侯爵夫人の肖像

The Portrait of the Marchioness of Santa Cruz or Portrait of the Marquise of Santa Cruz is an 1805 portrait by the Spanish artist Francisco José de Goya y Lucientes, a family friend of the subject. It has been owned by the Museo del Prado since 1986, when it bought it from its previous owner for over US$6 million.It shows Joaquina Téllez-Girón, Marquise of Santa Cruz clad in a very light white dress, lying sideways on a red divan. Her head is decorated with yellow flowers; her left hand is balancing a lyre-guitar. Her gaze does not directly fix on the viewer but seems to look distant. Her body does not seem to sit in a natural position, but seemingly floats on the red divan and the pillows. The theme seems almost allegorical, a reference to the ancient Greek theatre. The composition of the work is similar to Antonio Canova's sculpture of Paolina Borghese as Venus Victrix. The portrait is also similar to Diego Velázquez and, to an extent, to Titian's depictions of Venus. The flowers on her head are a reference to Bacchus, while the lyre-guitar with its resemblance to the ancient lyre is a homage to art and Apollo.This painting inspired one pastiche or fantasy portrait depicted in the comedy film Mortdecai , starring Johnny Depp and Gwyneth Paltrow.

Prompt: サンタ・クルス侯爵夫人の肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Antonio Canova
Apollo
Diego Velázquez
Gwyneth Paltrow
Johnny Depp
Museo del Prado
Titian
Venus


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サンタ・クルス侯爵夫人の肖像

The Portrait of the Marchioness of Santa Cruz or Portrait of the Marquise of Santa Cruz is an 1805 portrait by the Spanish artist Francisco José de Goya y Lucientes, a family friend of the subject. It has been owned by the Museo del Prado since 1986, when it bought it from its previous owner for over US$6 million.It shows Joaquina Téllez-Girón, Marquise of Santa Cruz clad in a very light white dress, lying sideways on a red divan. Her head is decorated with yellow flowers; her left hand is balancing a lyre-guitar. Her gaze does not directly fix on the viewer but seems to look distant. Her body does not seem to sit in a natural position, but seemingly floats on the red divan and the pillows. The theme seems almost allegorical, a reference to the ancient Greek theatre. The composition of the work is similar to Antonio Canova's sculpture of Paolina Borghese as Venus Victrix. The portrait is also similar to Diego Velázquez and, to an extent, to Titian's depictions of Venus. The flowers on her head are a reference to Bacchus, while the lyre-guitar with its resemblance to the ancient lyre is a homage to art and Apollo.This painting inspired one pastiche or fantasy portrait depicted in the comedy film Mortdecai , starring Johnny Depp and Gwyneth Paltrow.

Prompt: サンタ・クルス侯爵夫人の肖像の抽象を説明してください。英語で出力して下さい。

Antonio Canova
Apollo
Diego Velázquez
Gwyneth Paltrow
Johnny Depp
Museo del Prado
Titian
Venus


section

サンタ・クルス侯爵夫人の肖像

The Portrait of the Marchioness of Santa Cruz or Portrait of the Marquise of Santa Cruz is an 1805 portrait by the Spanish artist Francisco José de Goya y Lucientes, a family friend of the subject. It has been owned by the Museo del Prado since 1986, when it bought it from its previous owner for over US$6 million.It shows Joaquina Téllez-Girón, Marquise of Santa Cruz clad in a very light white dress, lying sideways on a red divan. Her head is decorated with yellow flowers; her left hand is balancing a lyre-guitar. Her gaze does not directly fix on the viewer but seems to look distant. Her body does not seem to sit in a natural position, but seemingly floats on the red divan and the pillows. The theme seems almost allegorical, a reference to the ancient Greek theatre. The composition of the work is similar to Antonio Canova's sculpture of Paolina Borghese as Venus Victrix. The portrait is also similar to Diego Velázquez and, to an extent, to Titian's depictions of Venus. The flowers on her head are a reference to Bacchus, while the lyre-guitar with its resemblance to the ancient lyre is a homage to art and Apollo.This painting inspired one pastiche or fantasy portrait depicted in the comedy film Mortdecai , starring Johnny Depp and Gwyneth Paltrow.

Prompt: サンタ・クルス侯爵夫人の肖像はどのように抽象を説明していますか？英語で出力して下さい。

Antonio Canova
Apollo
Diego Velázquez
Gwyneth Paltrow
Johnny Depp
Museo del Prado
Titian
Venus


section

サンタ・クルス侯爵夫人の肖像

The Portrait of the Marchioness of Santa Cruz or Portrait of the Marquise of Santa Cruz is an 1805 portrait by the Spanish artist Francisco José de Goya y Lucientes, a family friend of the subject. It has been owned by the Museo del Prado since 1986, when it bought it from its previous owner for over US$6 million.It shows Joaquina Téllez-Girón, Marquise of Santa Cruz clad in a very light white dress, lying sideways on a red divan. Her head is decorated with yellow flowers; her left hand is balancing a lyre-guitar. Her gaze does not directly fix on the viewer but seems to look distant. Her body does not seem to sit in a natural position, but seemingly floats on the red divan and the pillows. The theme seems almost allegorical, a reference to the ancient Greek theatre. The composition of the work is similar to Antonio Canova's sculpture of Paolina Borghese as Venus Victrix. The portrait is also similar to Diego Velázquez and, to an extent, to Titian's depictions of Venus. The flowers on her head are a reference to Bacchus, while the lyre-guitar with its resemblance to the ancient lyre is a homage to art and Apollo.This painting inspired one pastiche or fantasy portrait depicted in the comedy film Mortdecai , starring Johnny Depp and Gwyneth Paltrow.

Prompt: サンタ・クルス侯爵夫人の肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Antonio Canova
Apollo
Diego Velázquez
Gwyneth Paltrow
Johnny Depp
Museo del Prado
Titian
Venus


section

サンタ・クルス侯爵夫人の肖像

Portrait of the Marchioness of Santa Cruz

Prompt: サンタ・クルス侯爵夫人の肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Francisco Goya
Francisco Goya
List of works by Francisco Goya


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サンタ・クルス侯爵夫人の肖像

Portrait of the Marchioness of Santa Cruz

Prompt: サンタ・クルス侯爵夫人の肖像の参照を説明してください。英語で出力して下さい。

Francisco Goya
Francisco Goya
List of works by Francisco Goya


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サンタ・クルス侯爵夫人の肖像

Portrait of the Marchioness of Santa Cruz

Prompt: サンタ・クルス侯爵夫人の肖像はどのように参照を説明していますか？英語で出力して下さい。

Francisco Goya
Francisco Goya
List of works by Francisco Goya


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サンタ・クルス侯爵夫人の肖像

Portrait of the Marchioness of Santa Cruz

Prompt: サンタ・クルス侯爵夫人の肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。

Francisco Goya
Francisco Goya
List of works by Francisco Goya


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サンタ・クルス侯爵夫人の肖像

http://www.almendron.com/arte/pintura/goya/obras_goya/goya_42.htmhttp://www.museodelprado.es/coleccion/galeria-on-line/galeria-on-line/obra/la-marquesa-de-santa-cruz/Category:Paintings by Francisco Goya in the Museo del Pradocategory:Portraits of womenPortrait of the Marchioness of Santa CruzCategory:Portraits by Francisco Goyacategory:19th-century portraits

Prompt: サンタ・クルス侯爵夫人の肖像に焦点を当てて、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。

Francisco Goya
Francisco Goya
Museo del Prado


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サンタ・クルス侯爵夫人の肖像

http://www.almendron.com/arte/pintura/goya/obras_goya/goya_42.htmhttp://www.museodelprado.es/coleccion/galeria-on-line/galeria-on-line/obra/la-marquesa-de-santa-cruz/Category:Paintings by Francisco Goya in the Museo del Pradocategory:Portraits of womenPortrait of the Marchioness of Santa CruzCategory:Portraits by Francisco Goyacategory:19th-century portraits

Prompt: サンタ・クルス侯爵夫人の肖像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。

Francisco Goya
Francisco Goya
Museo del Prado


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サンタ・クルス侯爵夫人の肖像

http://www.almendron.com/arte/pintura/goya/obras_goya/goya_42.htmhttp://www.museodelprado.es/coleccion/galeria-on-line/galeria-on-line/obra/la-marquesa-de-santa-cruz/Category:Paintings by Francisco Goya in the Museo del Pradocategory:Portraits of womenPortrait of the Marchioness of Santa CruzCategory:Portraits by Francisco Goyacategory:19th-century portraits

Prompt: サンタ・クルス侯爵夫人の肖像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。

Francisco Goya
Francisco Goya
Museo del Prado


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サンタ・クルス侯爵夫人の肖像

http://www.almendron.com/arte/pintura/goya/obras_goya/goya_42.htmhttp://www.museodelprado.es/coleccion/galeria-on-line/galeria-on-line/obra/la-marquesa-de-santa-cruz/Category:Paintings by Francisco Goya in the Museo del Pradocategory:Portraits of womenPortrait of the Marchioness of Santa CruzCategory:Portraits by Francisco Goyacategory:19th-century portraits

Prompt: サンタ・クルス侯爵夫人の肖像に関して、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。

Francisco Goya
Francisco Goya
Museo del Prado


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スープ皿の聖母

Madonna della Scodella is an oil painting on panel by Antonio da Correggio , dated from 1528 to about 1530 and preserved at the Galleria nazionale di Parma.

Prompt: スープ皿の聖母に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Antonio da Correggio
Galleria nazionale di Parma


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スープ皿の聖母

Madonna della Scodella is an oil painting on panel by Antonio da Correggio , dated from 1528 to about 1530 and preserved at the Galleria nazionale di Parma.

Prompt: スープ皿の聖母の抽象を説明してください。英語で出力して下さい。

Antonio da Correggio
Galleria nazionale di Parma


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スープ皿の聖母

Madonna della Scodella is an oil painting on panel by Antonio da Correggio , dated from 1528 to about 1530 and preserved at the Galleria nazionale di Parma.

Prompt: スープ皿の聖母はどのように抽象を説明していますか？英語で出力して下さい。

Antonio da Correggio
Galleria nazionale di Parma


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スープ皿の聖母

Madonna della Scodella is an oil painting on panel by Antonio da Correggio , dated from 1528 to about 1530 and preserved at the Galleria nazionale di Parma.

Prompt: スープ皿の聖母に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Antonio da Correggio
Galleria nazionale di Parma


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スープ皿の聖母

The panel painting was made by Correggio for the San Sepolcro, Parma. It was probably commissioned in 1524, when Cristoforo Bondini, dying, left in his will 15 lire for the creation of a painting for the altar of Saint Joseph. There are two known preparatory drawings for the painting. The result was completed in 1530, as is revealed in the inscription on the original frame:</ref>}}Giorgio Vasari cited the work as "panel of divine painting" in the second edition of his Lives while speaking of Girolamo da Carpi, who he believed had studied in San Sepolcro. The painting remained there until 1796, when it was requisitioned by the Napoleonic government and taken to Paris. It was repatriated in 1815, after the defeat of Napoleon at Waterloo, and was placed in the following year in the Ducal Gallery. In 1893, at the proposal of art critic Corrado Ricci, it was reinserted into its original frame.For dating the painting, the commonly agreed range is 1528–1530. Art historian Cecil Gould believed that the angels at the highest part of the canvas were made in those years and that the lower part of the work was made, however, around 1535.Madonna della Scodella has had a wide influence: it was studied by, among others, Lelio Orsi, Federico Barocci, , Domenichino, as well as Carlo Maratta and Pompeo Batoni. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

Prompt: スープ皿の聖母に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Carlo Maratta
Cecil Gould
Domenichino
Federico Barocci
Giorgio Vasari
Girolamo da Carpi
Lelio Orsi
Napoleon
Palais Rohan, Strasbourg
Pompeo Batoni
San Sepolcro, Parma


section

スープ皿の聖母

The panel painting was made by Correggio for the San Sepolcro, Parma. It was probably commissioned in 1524, when Cristoforo Bondini, dying, left in his will 15 lire for the creation of a painting for the altar of Saint Joseph. There are two known preparatory drawings for the painting. The result was completed in 1530, as is revealed in the inscription on the original frame:</ref>}}Giorgio Vasari cited the work as "panel of divine painting" in the second edition of his Lives while speaking of Girolamo da Carpi, who he believed had studied in San Sepolcro. The painting remained there until 1796, when it was requisitioned by the Napoleonic government and taken to Paris. It was repatriated in 1815, after the defeat of Napoleon at Waterloo, and was placed in the following year in the Ducal Gallery. In 1893, at the proposal of art critic Corrado Ricci, it was reinserted into its original frame.For dating the painting, the commonly agreed range is 1528–1530. Art historian Cecil Gould believed that the angels at the highest part of the canvas were made in those years and that the lower part of the work was made, however, around 1535.Madonna della Scodella has had a wide influence: it was studied by, among others, Lelio Orsi, Federico Barocci, , Domenichino, as well as Carlo Maratta and Pompeo Batoni. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

Prompt: スープ皿の聖母の歴史を説明してください。英語で出力して下さい。

Carlo Maratta
Cecil Gould
Domenichino
Federico Barocci
Giorgio Vasari
Girolamo da Carpi
Lelio Orsi
Napoleon
Palais Rohan, Strasbourg
Pompeo Batoni
San Sepolcro, Parma


section

スープ皿の聖母

The panel painting was made by Correggio for the San Sepolcro, Parma. It was probably commissioned in 1524, when Cristoforo Bondini, dying, left in his will 15 lire for the creation of a painting for the altar of Saint Joseph. There are two known preparatory drawings for the painting. The result was completed in 1530, as is revealed in the inscription on the original frame:</ref>}}Giorgio Vasari cited the work as "panel of divine painting" in the second edition of his Lives while speaking of Girolamo da Carpi, who he believed had studied in San Sepolcro. The painting remained there until 1796, when it was requisitioned by the Napoleonic government and taken to Paris. It was repatriated in 1815, after the defeat of Napoleon at Waterloo, and was placed in the following year in the Ducal Gallery. In 1893, at the proposal of art critic Corrado Ricci, it was reinserted into its original frame.For dating the painting, the commonly agreed range is 1528–1530. Art historian Cecil Gould believed that the angels at the highest part of the canvas were made in those years and that the lower part of the work was made, however, around 1535.Madonna della Scodella has had a wide influence: it was studied by, among others, Lelio Orsi, Federico Barocci, , Domenichino, as well as Carlo Maratta and Pompeo Batoni. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

Prompt: スープ皿の聖母はどのように歴史を説明していますか？英語で出力して下さい。

Carlo Maratta
Cecil Gould
Domenichino
Federico Barocci
Giorgio Vasari
Girolamo da Carpi
Lelio Orsi
Napoleon
Palais Rohan, Strasbourg
Pompeo Batoni
San Sepolcro, Parma


section

スープ皿の聖母

The panel painting was made by Correggio for the San Sepolcro, Parma. It was probably commissioned in 1524, when Cristoforo Bondini, dying, left in his will 15 lire for the creation of a painting for the altar of Saint Joseph. There are two known preparatory drawings for the painting. The result was completed in 1530, as is revealed in the inscription on the original frame:</ref>}}Giorgio Vasari cited the work as "panel of divine painting" in the second edition of his Lives while speaking of Girolamo da Carpi, who he believed had studied in San Sepolcro. The painting remained there until 1796, when it was requisitioned by the Napoleonic government and taken to Paris. It was repatriated in 1815, after the defeat of Napoleon at Waterloo, and was placed in the following year in the Ducal Gallery. In 1893, at the proposal of art critic Corrado Ricci, it was reinserted into its original frame.For dating the painting, the commonly agreed range is 1528–1530. Art historian Cecil Gould believed that the angels at the highest part of the canvas were made in those years and that the lower part of the work was made, however, around 1535.Madonna della Scodella has had a wide influence: it was studied by, among others, Lelio Orsi, Federico Barocci, , Domenichino, as well as Carlo Maratta and Pompeo Batoni. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

Prompt: スープ皿の聖母に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Carlo Maratta
Cecil Gould
Domenichino
Federico Barocci
Giorgio Vasari
Girolamo da Carpi
Lelio Orsi
Napoleon
Palais Rohan, Strasbourg
Pompeo Batoni
San Sepolcro, Parma


section

スープ皿の聖母

The painting depicts an episode in the infancy of Jesus narrated in the apocryphal Gospel of Pseudo-Matthew: while returning to Palestine after the Flight into Egypt and during a break in the shade of a date palm, the Sacred Family were fed, thanks to the tree, which, folding extraordinarily, offered its fruits to the travelers. The Virgin is represented in the act of collecting the fruits, with a bowl of water miraculously appearing to quench Jesus' thirst. From this, the traditional name of the work is derived. The title with which it is known also signified the importance that Correggio wished to place, as with his Madonna of the Basket, on the simple object of the bowl.This iconography was not often used in Italian artistic production. It was, however, more frequent in the North, as displayed by the works of Albrecht Altdorfer and Lucas Cranach.The protagonist role of Joseph was a response to the needs of the Fraternity that commissioned the painting. The image is constructed on a diagonal line, that opens on the left with the bowl of silver and follows the intertwining of hands by the Virgin, Baby Jesus, and Joseph. The pose of Jesus, in a calculated contrapposto, allows him to act as a link between the represented scene and the real world of the observer, to whom he turns a knowing gaze.On high, a glory of angels frees itself in an animated spiral that recalls the Correggio's frescoes of his Assumption of the Virgin in the Parma duomo.

Prompt: スープ皿の聖母に焦点を当てて、その説明とスタイルを説明してください。英語で出力して下さい。

Albrecht Altdorfer
Flight into Egypt
Gospel of Pseudo-Matthew
Jesus
Cranach


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スープ皿の聖母

The painting depicts an episode in the infancy of Jesus narrated in the apocryphal Gospel of Pseudo-Matthew: while returning to Palestine after the Flight into Egypt and during a break in the shade of a date palm, the Sacred Family were fed, thanks to the tree, which, folding extraordinarily, offered its fruits to the travelers. The Virgin is represented in the act of collecting the fruits, with a bowl of water miraculously appearing to quench Jesus' thirst. From this, the traditional name of the work is derived. The title with which it is known also signified the importance that Correggio wished to place, as with his Madonna of the Basket, on the simple object of the bowl.This iconography was not often used in Italian artistic production. It was, however, more frequent in the North, as displayed by the works of Albrecht Altdorfer and Lucas Cranach.The protagonist role of Joseph was a response to the needs of the Fraternity that commissioned the painting. The image is constructed on a diagonal line, that opens on the left with the bowl of silver and follows the intertwining of hands by the Virgin, Baby Jesus, and Joseph. The pose of Jesus, in a calculated contrapposto, allows him to act as a link between the represented scene and the real world of the observer, to whom he turns a knowing gaze.On high, a glory of angels frees itself in an animated spiral that recalls the Correggio's frescoes of his Assumption of the Virgin in the Parma duomo.

Prompt: スープ皿の聖母の説明とスタイルを説明してください。英語で出力して下さい。

Albrecht Altdorfer
Flight into Egypt
Gospel of Pseudo-Matthew
Jesus
Cranach


section

スープ皿の聖母

The painting depicts an episode in the infancy of Jesus narrated in the apocryphal Gospel of Pseudo-Matthew: while returning to Palestine after the Flight into Egypt and during a break in the shade of a date palm, the Sacred Family were fed, thanks to the tree, which, folding extraordinarily, offered its fruits to the travelers. The Virgin is represented in the act of collecting the fruits, with a bowl of water miraculously appearing to quench Jesus' thirst. From this, the traditional name of the work is derived. The title with which it is known also signified the importance that Correggio wished to place, as with his Madonna of the Basket, on the simple object of the bowl.This iconography was not often used in Italian artistic production. It was, however, more frequent in the North, as displayed by the works of Albrecht Altdorfer and Lucas Cranach.The protagonist role of Joseph was a response to the needs of the Fraternity that commissioned the painting. The image is constructed on a diagonal line, that opens on the left with the bowl of silver and follows the intertwining of hands by the Virgin, Baby Jesus, and Joseph. The pose of Jesus, in a calculated contrapposto, allows him to act as a link between the represented scene and the real world of the observer, to whom he turns a knowing gaze.On high, a glory of angels frees itself in an animated spiral that recalls the Correggio's frescoes of his Assumption of the Virgin in the Parma duomo.

Prompt: スープ皿の聖母はどのように説明とスタイルを説明していますか？英語で出力して下さい。

Albrecht Altdorfer
Flight into Egypt
Gospel of Pseudo-Matthew
Jesus
Cranach


section

スープ皿の聖母

The painting depicts an episode in the infancy of Jesus narrated in the apocryphal Gospel of Pseudo-Matthew: while returning to Palestine after the Flight into Egypt and during a break in the shade of a date palm, the Sacred Family were fed, thanks to the tree, which, folding extraordinarily, offered its fruits to the travelers. The Virgin is represented in the act of collecting the fruits, with a bowl of water miraculously appearing to quench Jesus' thirst. From this, the traditional name of the work is derived. The title with which it is known also signified the importance that Correggio wished to place, as with his Madonna of the Basket, on the simple object of the bowl.This iconography was not often used in Italian artistic production. It was, however, more frequent in the North, as displayed by the works of Albrecht Altdorfer and Lucas Cranach.The protagonist role of Joseph was a response to the needs of the Fraternity that commissioned the painting. The image is constructed on a diagonal line, that opens on the left with the bowl of silver and follows the intertwining of hands by the Virgin, Baby Jesus, and Joseph. The pose of Jesus, in a calculated contrapposto, allows him to act as a link between the represented scene and the real world of the observer, to whom he turns a knowing gaze.On high, a glory of angels frees itself in an animated spiral that recalls the Correggio's frescoes of his Assumption of the Virgin in the Parma duomo.

Prompt: スープ皿の聖母に関して、どのように説明とスタイルが議論されていますか？英語で出力して下さい。

Albrecht Altdorfer
Flight into Egypt
Gospel of Pseudo-Matthew
Jesus
Cranach


section

スープ皿の聖母

Prompt: スープ皿の聖母に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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スープ皿の聖母

Prompt: スープ皿の聖母の参考文献を説明してください。英語で出力して下さい。


section

スープ皿の聖母

Prompt: スープ皿の聖母はどのように参考文献を説明していますか？英語で出力して下さい。


section

スープ皿の聖母

Prompt: スープ皿の聖母に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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ドルバダーン城

completion_date =     material = oil on wood subject = Dolbadarn Castle height_metric = 45.5     width_metric = 30 length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city =  museum =  accession =  coordinates =         owner =  preceded_by =         followed_by =         website =            }}Dolbadarn Castle is an oil painting by  J. M. W. Turner  depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain . When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Prompt: ドルバダーン城に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Dolbadarn Castle
J. M. W. Turner
Llanberis
National Library of Wales
Snowdonia
Tate Britain


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ドルバダーン城

completion_date =     material = oil on wood subject = Dolbadarn Castle height_metric = 45.5     width_metric = 30 length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city =  museum =  accession =  coordinates =         owner =  preceded_by =         followed_by =         website =            }}Dolbadarn Castle is an oil painting by  J. M. W. Turner  depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain . When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Prompt: ドルバダーン城の抽象を説明してください。英語で出力して下さい。

Dolbadarn Castle
J. M. W. Turner
Llanberis
National Library of Wales
Snowdonia
Tate Britain


section

ドルバダーン城

completion_date =     material = oil on wood subject = Dolbadarn Castle height_metric = 45.5     width_metric = 30 length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city =  museum =  accession =  coordinates =         owner =  preceded_by =         followed_by =         website =            }}Dolbadarn Castle is an oil painting by  J. M. W. Turner  depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain . When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Prompt: ドルバダーン城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。

Dolbadarn Castle
J. M. W. Turner
Llanberis
National Library of Wales
Snowdonia
Tate Britain


section

ドルバダーン城

completion_date =     material = oil on wood subject = Dolbadarn Castle height_metric = 45.5     width_metric = 30 length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city =  museum =  accession =  coordinates =         owner =  preceded_by =         followed_by =         website =            }}Dolbadarn Castle is an oil painting by  J. M. W. Turner  depicting Dolbadarn Castle, created in 1798–1799. It is part of a body of work completed by Turner during a tour of the region, which included Dolbadarn, Llanberis and other parts of Snowdonia. Many supporting studies can be found in a sketch book now held by Tate Britain . When Turner returned to his London studio he developed these sketches into a number of more accomplished paintings of North Wales, including this one, which is now kept at the National Library of Wales.This painting is particularly notable as it is one of two that Turner submitted as Diploma works to the Royal Academy in 1800.

Prompt: ドルバダーン城に関して、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。

Dolbadarn Castle
J. M. W. Turner
Llanberis
National Library of Wales
Snowdonia
Tate Britain


section

ドルバダーン城

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd , being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Prompt: ドルバダーン城に焦点を当てて、その歴史的出来事を説明してください。英語で出力して下さい。


section

ドルバダーン城

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd , being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Prompt: ドルバダーン城の歴史的出来事を説明してください。英語で出力して下さい。


section

ドルバダーン城

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd , being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Prompt: ドルバダーン城はどのように歴史的出来事を説明していますか？英語で出力して下さい。


section

ドルバダーン城

The painting is an artist's impression of a 13th-century event of some importance in Welsh history. It depicts Owain Goch, the brother of Prince Llywelyn ap Gruffudd , being taken by soldiers to prison at Dolbadarn Castle. Owain was imprisoned at the Castle between 1255 and 1277, when he was released. The imprisonment of Owain, dressed in red in the painting, left his brother Llywelyn free to concentrate on uniting Wales against the English.

Prompt: ドルバダーン城に関して、どのように歴史的出来事が議論されていますか？英語で出力して下さい。


section

ドルバダーン城

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Prompt: ドルバダーン城に焦点を当てて、そのウェールズ旅行を説明してください。英語で出力して下さい。

Aberystwyth Ceredigion Denbighshire Flintshire Gwynedd Llangollen


section

ドルバダーン城

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Prompt: ドルバダーン城のウェールズ旅行を説明してください。英語で出力して下さい。

Aberystwyth Ceredigion Denbighshire Flintshire Gwynedd Llangollen


section

ドルバダーン城

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Prompt: ドルバダーン城はどのようにウェールズ旅行を説明していますか？英語で出力して下さい。

Aberystwyth Ceredigion Denbighshire Flintshire Gwynedd Llangollen


section

ドルバダーン城

Turner first visited Wales in 1792, when he traveled through the south of the country. On his second visit in 1794, he visited Flintshire and Denbighshire. In 1798 he paid a much longer visit to Wales, travelling through Dyffryn Wysg, Ceredigion, Aberystwyth, Gwynedd and Llangollen.

Prompt: ドルバダーン城に関して、どのようにウェールズ旅行が議論されていますか？英語で出力して下さい。

Aberystwyth Ceredigion Denbighshire Flintshire Gwynedd Llangollen


section

ドルバダーン城

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Prompt: ドルバダーン城に焦点を当てて、その絵の詳細を説明してください。英語で出力して下さい。


section

ドルバダーン城

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Prompt: ドルバダーン城の絵の詳細を説明してください。英語で出力して下さい。


section

ドルバダーン城

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Prompt: ドルバダーン城はどのように絵の詳細を説明していますか？英語で出力して下さい。


section

ドルバダーン城

The frame was especially commissioned for the painting from John Jones of London, in the 1940s. The picture was purchased by the Library with the help of the National Art Collection Fund and the National Lottery. The medium is oil on a wood panel and the visible area measures 45.5 x 30 cm., and the  frame  62 x 50 cm. Turner also submitted this work with some lines of verse related to the painting's themes, a relatively common practice of his. The verse reads, "How awful is the silence of the waste,/ Where nature lifts her mountains to the sky,/ Majestic solitude, behold the tower/ Where hopeless OWEN, long imprison'd, pined/ And wrung his hands for liberty in vain."Turner's use of contrast between light and dark creates a sense of peril and categorizes the painting as an example of the Sublime.

Prompt: ドルバダーン城に関して、どのように絵の詳細が議論されていますか？英語で出力して下さい。


section

ドルバダーン城

Prompt: ドルバダーン城に焦点を当てて、その参照を説明してください。英語で出力して下さい。

J. M. W. Turner
List of paintings by J. M. W. Turner


section

ドルバダーン城

Prompt: ドルバダーン城の参照を説明してください。英語で出力して下さい。

J. M. W. Turner
List of paintings by J. M. W. Turner


section

ドルバダーン城

Prompt: ドルバダーン城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。

J. M. W. Turner
List of paintings by J. M. W. Turner


section

ドルバダーン城

Prompt: ドルバダーン城に関して、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。

J. M. W. Turner
List of paintings by J. M. W. Turner


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アレクサンドリアでの聖マルコの説教

material           = Oil on canvas subject            =  height_metric      = 3.47 width_metric       = 7.70 metric_unit        = m city               = Milan museum             = Pinacoteca di Brera}}St. Mark Preaching in Alexandria is an oil painting by the Italian Renaissance artists Gentile and Giovanni Bellini, dated to 1504–1507, and held in the Pinacoteca di Brera, in Milan.

Prompt: アレクサンドリアでの聖マルコの説教に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Alexandria
Giovanni Bellini
Italian Renaissance
Milan
Pinacoteca di Brera


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アレクサンドリアでの聖マルコの説教

material           = Oil on canvas subject            =  height_metric      = 3.47 width_metric       = 7.70 metric_unit        = m city               = Milan museum             = Pinacoteca di Brera}}St. Mark Preaching in Alexandria is an oil painting by the Italian Renaissance artists Gentile and Giovanni Bellini, dated to 1504–1507, and held in the Pinacoteca di Brera, in Milan.

Prompt: アレクサンドリアでの聖マルコの説教の抽象を説明してください。英語で出力して下さい。

Alexandria
Giovanni Bellini
Italian Renaissance
Milan
Pinacoteca di Brera


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アレクサンドリアでの聖マルコの説教

material           = Oil on canvas subject            =  height_metric      = 3.47 width_metric       = 7.70 metric_unit        = m city               = Milan museum             = Pinacoteca di Brera}}St. Mark Preaching in Alexandria is an oil painting by the Italian Renaissance artists Gentile and Giovanni Bellini, dated to 1504–1507, and held in the Pinacoteca di Brera, in Milan.

Prompt: アレクサンドリアでの聖マルコの説教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。

Alexandria
Giovanni Bellini
Italian Renaissance
Milan
Pinacoteca di Brera


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アレクサンドリアでの聖マルコの説教

material           = Oil on canvas subject            =  height_metric      = 3.47 width_metric       = 7.70 metric_unit        = m city               = Milan museum             = Pinacoteca di Brera}}St. Mark Preaching in Alexandria is an oil painting by the Italian Renaissance artists Gentile and Giovanni Bellini, dated to 1504–1507, and held in the Pinacoteca di Brera, in Milan.

Prompt: アレクサンドリアでの聖マルコの説教に関して、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。

Alexandria
Giovanni Bellini
Italian Renaissance
Milan
Pinacoteca di Brera


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アレクサンドリアでの聖マルコの説教

The work is a huge canvas  destined for the Scuola Grande di San Marco in Venice. It is 26 m in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East  is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco  in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.

Prompt: アレクサンドリアでの聖マルコの説教に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Alexandria
Constantinople
Gentile Bellini
Giorgione
Jerusalem
Mamluk architecture
Pinacoteca di Brera
Scuola Grande di San Marco
Tintoretto
Venice


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アレクサンドリアでの聖マルコの説教

The work is a huge canvas  destined for the Scuola Grande di San Marco in Venice. It is 26 m in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East  is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco  in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.

Prompt: アレクサンドリアでの聖マルコの説教の歴史を説明してください。英語で出力して下さい。

Alexandria
Constantinople
Gentile Bellini
Giorgione
Jerusalem
Mamluk architecture
Pinacoteca di Brera
Scuola Grande di San Marco
Tintoretto
Venice


section

アレクサンドリアでの聖マルコの説教

The work is a huge canvas  destined for the Scuola Grande di San Marco in Venice. It is 26 m in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East  is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco  in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.

Prompt: アレクサンドリアでの聖マルコの説教はどのように歴史を説明していますか？英語で出力して下さい。

Alexandria
Constantinople
Gentile Bellini
Giorgione
Jerusalem
Mamluk architecture
Pinacoteca di Brera
Scuola Grande di San Marco
Tintoretto
Venice


section

アレクサンドリアでの聖マルコの説教

The work is a huge canvas  destined for the Scuola Grande di San Marco in Venice. It is 26 m in surface, and has rich narrative and iconographic features. The cycle of paintings with stories of the life of St Mark was completed around 60 years later by Giorgione and Tintoretto, and is today housed in the Pinacoteca di Brera and the Accademia in Venice.The canvas was started by Gentile in July 1504, but after his death in February 1507, when it was "largely completed", it passed to his brother Giovanni, as indicated in Gentile's will. Giovanni completed it, making some modifications. The invitation to complete it was probably from his brother just before he died, to which Giovanni probably responded negatively, This explains its insertion in the will of the clause that consigned a precious collection of drawing to Giovanni should he complete the painting. The commission was confirmed as being passed to Giovanni by the Scuola on 7 March 1507.The scene is rich with exotic elements adapted from real-life that Gentile had the opportunity to study during his trip to Constantinople in 1479–1480. Decorative elements of Mamluk architecture, rather than Ottoman, suggest that the artist may also have reached Jerusalem. This painting combines two distinct moments in time, one ancient and one contemporary to Bellini's life, as well as three different places, Alexandria, Venice, and a mountainous landscape in the background. The arrangement of the huge "historia," imagined as an arranged portrayal on a wide stage shut on three sides by huge architectural dividers, was plainly Gentile. The style of the design proposed to the painter during his excursion in the East  is quite similar to Mameluke models, which prompted the hypothesis that Gentile may have continued from Constantinople to Jerusalem on a journey, and from that point have recorded new building thoughts that were not quite the same as Ottoman styles, the last being more natural to Venetians.It is not clear which parts were done by which brother: Vasari only mentioned Gentile in the 1550 version of the Vite, and omitting them in the 1568 edition. Modern criticism considers Gentile to have done the background, except for the modified parts, and possibly the characters on the right hand. Giovanni is assigned with some certainty the portraits on the left, and some of the central group.The painting of St. Mark Preaching in Alexandria was commissioned by the Scuola Grande di San Marco  in Venice for their gathering house in the Campo San Giovanni e Polo, perhaps the biggest important square in Venice. The great Confraternity of St. Mark was reconstructed after a massive fire took a hit on the old structure on 31 March 1485 toward the end of the fifteenth century. The room that contained the most prestigious paintings and focus was the meeting space where it demonstrated their patron saint's narrating life. The Scuola Grande di San Marco looked to the most valuable painter Gentile Bellini to create this painting.The canvas was reduced at an unknown time, a strip along the top being cut away, where the buildings finished. The work arrived in the Brera in 1809, following the Napoleonic invasion.

Prompt: アレクサンドリアでの聖マルコの説教に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Alexandria
Constantinople
Gentile Bellini
Giorgione
Jerusalem
Mamluk architecture
Pinacoteca di Brera
Scuola Grande di San Marco
Tintoretto
Venice


section

アレクサンドリアでの聖マルコの説教

The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.

Prompt: アレクサンドリアでの聖マルコの説教に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.

Prompt: アレクサンドリアでの聖マルコの説教の説明を説明してください。英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.

Prompt: アレクサンドリアでの聖マルコの説教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

アレクサンドリアでの聖マルコの説教

The large-scale oil painting depicts a massive stage in the center of the main city and the pavement appears to be created of large square red brick stones. Behind the stage are three tall blue domed temples along with minaret-like towers and big square light colored houses, along the side as well. The side buildings are decorated with light colored red facade and rooftop porches on top. In front of the stage, there are about a hundred contrastingly dressed individuals who have assembled on this square. The men are shown wearing caftans, frocks, cloaks, turbans, and immense hats, while the women are dressed in white from head to ankle-length veils. The attribution of the different pieces of the work to every artisan is as yet a matter of discussion among researchers; in any case, the most generally held view allots Gentile the meaning of the primary lines of the scene, where components of Venetian engineering are superimposed on structures of unmistakably Mediterranean and Oriental inference.

Prompt: アレクサンドリアでの聖マルコの説教に関して、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

アレクサンドリアでの聖マルコの説教

This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.

Prompt: アレクサンドリアでの聖マルコの説教に焦点を当てて、その主語を説明してください。英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.

Prompt: アレクサンドリアでの聖マルコの説教の主語を説明してください。英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.

Prompt: アレクサンドリアでの聖マルコの説教はどのように主語を説明していますか？英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

This painting depicts St. Mark, who lived in Alexandria in the first-century. In the painting, he is preaching to Muslims and some Venetian guests, including peers of the artist and Gentile himself. The structure behind resembles San Marco in Venice, but with the lack of its decoration and sculptural figures. St. Mark Preaching in Alexandria presents two particular moments in history and three spots—Alexandria, Venice, and the mountains. Since many Venetians would not have understood what Alexandria looked like, everybody would have perceived it as San Marco. The hieroglyph on the obelisk directly above Mark symbolizes that the ancient Egyptians foresaw Christianity. By including contemporary Venetians and Mamluk Egyptians, Gentile is actually making a reference to the present and expressing a hope of hope of reconverting these Muslims to Christianity. St. Mark Preaching in Alexandria makes known the expectation of reconverting Alexandria, with St. Mark as an exemplar. Gentile Bellini presented the canvas as a substitute history where Venetians and Muslims intermix in a spot that is neither Venice nor Alexandria and is instead a fanciful city joining highlights of the two locations.

Prompt: アレクサンドリアでの聖マルコの説教に関して、どのように主語が議論されていますか？英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

Stefano Zuffi, Grande atlante del Rinascimento, Electa, Milano 2007.  AA.VV., Brera, guida alla pinacoteca, Electa, Milano 2004  Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.

Prompt: アレクサンドリアでの聖マルコの説教に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

Stefano Zuffi, Grande atlante del Rinascimento, Electa, Milano 2007.  AA.VV., Brera, guida alla pinacoteca, Electa, Milano 2004  Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.

Prompt: アレクサンドリアでの聖マルコの説教の参考文献を説明してください。英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

Stefano Zuffi, Grande atlante del Rinascimento, Electa, Milano 2007.  AA.VV., Brera, guida alla pinacoteca, Electa, Milano 2004  Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.

Prompt: アレクサンドリアでの聖マルコの説教はどのように参考文献を説明していますか？英語で出力して下さい。


section

アレクサンドリアでの聖マルコの説教

Stefano Zuffi, Grande atlante del Rinascimento, Electa, Milano 2007.  AA.VV., Brera, guida alla pinacoteca, Electa, Milano 2004  Mariolina Olivari, Giovanni Bellini, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007.

Prompt: アレクサンドリアでの聖マルコの説教に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


subsection

アレクサンドリアでの聖マルコの説教

Gentile Bellini  was born in Venice and was very well known during his time; he was the son of a wealthy artist, Jacobo Bellini, and the older brother of Giovanni Bellini. Gentile was an equipped and fastidious painter and ran the Bellini family workshop, yet he was eclipsed by his more skilled and imaginative sibling Giovanni. He was a Venetian painter particularly known for representations and compositions of the public buildings. Gentile was one of the first to begin the use of oil painting and of the canvas. Venetian painters in the fifteenth-century incorporated stories in their paintings. This style was portrayed with attention on all details of the picture. The main subject of the painting was regularly out of sight, aside, or in any case marginally darkened.

Prompt: アレクサンドリアでの聖マルコの説教の文脈で、ジェンティーレ・ベリーニと主語を説明してください。英語で出力して下さい。


subsection

アレクサンドリアでの聖マルコの説教

Gentile Bellini  was born in Venice and was very well known during his time; he was the son of a wealthy artist, Jacobo Bellini, and the older brother of Giovanni Bellini. Gentile was an equipped and fastidious painter and ran the Bellini family workshop, yet he was eclipsed by his more skilled and imaginative sibling Giovanni. He was a Venetian painter particularly known for representations and compositions of the public buildings. Gentile was one of the first to begin the use of oil painting and of the canvas. Venetian painters in the fifteenth-century incorporated stories in their paintings. This style was portrayed with attention on all details of the picture. The main subject of the painting was regularly out of sight, aside, or in any case marginally darkened.

Prompt: アレクサンドリアでの聖マルコの説教の主語に関するジェンティーレ・ベリーニを説明してください。英語で出力して下さい。


subsection

アレクサンドリアでの聖マルコの説教

Gentile Bellini  was born in Venice and was very well known during his time; he was the son of a wealthy artist, Jacobo Bellini, and the older brother of Giovanni Bellini. Gentile was an equipped and fastidious painter and ran the Bellini family workshop, yet he was eclipsed by his more skilled and imaginative sibling Giovanni. He was a Venetian painter particularly known for representations and compositions of the public buildings. Gentile was one of the first to begin the use of oil painting and of the canvas. Venetian painters in the fifteenth-century incorporated stories in their paintings. This style was portrayed with attention on all details of the picture. The main subject of the painting was regularly out of sight, aside, or in any case marginally darkened.

Prompt: アレクサンドリアでの聖マルコの説教では、どのように主語のジェンティーレ・ベリーニが説明されていますか？英語で出力して下さい。


subsection

アレクサンドリアでの聖マルコの説教

Gentile Bellini  was born in Venice and was very well known during his time; he was the son of a wealthy artist, Jacobo Bellini, and the older brother of Giovanni Bellini. Gentile was an equipped and fastidious painter and ran the Bellini family workshop, yet he was eclipsed by his more skilled and imaginative sibling Giovanni. He was a Venetian painter particularly known for representations and compositions of the public buildings. Gentile was one of the first to begin the use of oil painting and of the canvas. Venetian painters in the fifteenth-century incorporated stories in their paintings. This style was portrayed with attention on all details of the picture. The main subject of the painting was regularly out of sight, aside, or in any case marginally darkened.

Prompt: アレクサンドリアでの聖マルコの説教の主語におけるジェンティーレ・ベリーニの特徴を説明してください。英語で出力して下さい。


subsection

アレクサンドリアでの聖マルコの説教

Giovanni Bellini  was born in Venice and was born into an important art family. As he worked in his father's workshop, he demonstrated potential by concentrating on small and medium-size reverential boards for private proprietorship. Bellini first connected and worked with his brother Gentile up until the point of his death. After 1479, he routinely worked for the doge's royal residence, where he was charged to paint scenes of Venetian history. After his older brother Gentile's demise in 1507, he finished St. Mark Preaching in Alexandria, which Giovanni had started painting.

Prompt: アレクサンドリアでの聖マルコの説教の文脈で、ジョヴァンニ・ベッリーニと主語を説明してください。英語で出力して下さい。