subsection

乾草車の三連祭壇画

The exterior of the shutters, like most contemporary Netherlandish triptychs, was also painted, although in this case Bosch used full colors instead of the usual grisaille. When closed, they form a single scene depicting a wayfarer. Around him is a series of miniatures including the robbery of another wayfarer and a hanged man. The man uses a stick to repel a dog.According to the most recent interpretations, this figure may represent the man who follows his road in spite of the temptation of sins  and the evil acts occurring around him.

Prompt: 乾草車の三連祭壇画の歴史に関するシャッターを説明してください。英語で出力して下さい。


subsection

乾草車の三連祭壇画

The exterior of the shutters, like most contemporary Netherlandish triptychs, was also painted, although in this case Bosch used full colors instead of the usual grisaille. When closed, they form a single scene depicting a wayfarer. Around him is a series of miniatures including the robbery of another wayfarer and a hanged man. The man uses a stick to repel a dog.According to the most recent interpretations, this figure may represent the man who follows his road in spite of the temptation of sins  and the evil acts occurring around him.

Prompt: 乾草車の三連祭壇画では、どのように歴史のシャッターが説明されていますか？英語で出力して下さい。


subsection

乾草車の三連祭壇画

The exterior of the shutters, like most contemporary Netherlandish triptychs, was also painted, although in this case Bosch used full colors instead of the usual grisaille. When closed, they form a single scene depicting a wayfarer. Around him is a series of miniatures including the robbery of another wayfarer and a hanged man. The man uses a stick to repel a dog.According to the most recent interpretations, this figure may represent the man who follows his road in spite of the temptation of sins  and the evil acts occurring around him.

Prompt: 乾草車の三連祭壇画の歴史におけるシャッターの特徴を説明してください。英語で出力して下さい。


subsection

乾草車の三連祭壇画

The Haywain triptych follows a similar narrative to The Garden of Earthly Delights. The left panel shows God giving form to Eve.  Unlike the Garden, though, a narrative sequence flows through the panel in different scenes.  At the top, the rebel angels are cast out of Heaven while God sits enthroned, the angels turning into insects as they break through the clouds. Below this, God creates Eve from the rib of Adam. Next, Adam and Eve find the serpent and the tree; the serpent offers them an apple. Finally, at the lowest part of the panel, the angel forces the two out of the Garden of Eden. Adam speaks with the angel; Eve, in a melancholic pose, looks ahead to the right.The central panel features a large wagon of hay surrounded by a multitude of fools engaged in a variety of sins, quite apart from the sins of lust which dominates the Garden of Earthly Delights. In the center panel Bosch shows Christ in the sky, not paralleled in the Garden. An angel on top of the wagon looks to the sky, praying, but none of the other figures see Christ looking down on the world. The rightward bow of the figures around the wagon provides the force for the viewer's eye to move with them on their journey and the cart is drawn by infernal beings which drag everyone to Hell, depicted on the right panel.The forward kinetic motion of the participants moves the viewer from present-day sin into unadulterated torture in the realms of Hell. The procession on the left side of this panel bends back into the middle ground, but the right side figures continue in a straight line with the wagon, a more evident progress into damnation.

Prompt: 乾草車の三連祭壇画の文脈で、メインパネルと歴史を説明してください。英語で出力して下さい。

Adam
Adam and Eve
Eve
Garden of Eden
Hell
The Garden of Earthly Delights


subsection

乾草車の三連祭壇画

The Haywain triptych follows a similar narrative to The Garden of Earthly Delights. The left panel shows God giving form to Eve.  Unlike the Garden, though, a narrative sequence flows through the panel in different scenes.  At the top, the rebel angels are cast out of Heaven while God sits enthroned, the angels turning into insects as they break through the clouds. Below this, God creates Eve from the rib of Adam. Next, Adam and Eve find the serpent and the tree; the serpent offers them an apple. Finally, at the lowest part of the panel, the angel forces the two out of the Garden of Eden. Adam speaks with the angel; Eve, in a melancholic pose, looks ahead to the right.The central panel features a large wagon of hay surrounded by a multitude of fools engaged in a variety of sins, quite apart from the sins of lust which dominates the Garden of Earthly Delights. In the center panel Bosch shows Christ in the sky, not paralleled in the Garden. An angel on top of the wagon looks to the sky, praying, but none of the other figures see Christ looking down on the world. The rightward bow of the figures around the wagon provides the force for the viewer's eye to move with them on their journey and the cart is drawn by infernal beings which drag everyone to Hell, depicted on the right panel.The forward kinetic motion of the participants moves the viewer from present-day sin into unadulterated torture in the realms of Hell. The procession on the left side of this panel bends back into the middle ground, but the right side figures continue in a straight line with the wagon, a more evident progress into damnation.

Prompt: 乾草車の三連祭壇画の歴史に関するメインパネルを説明してください。英語で出力して下さい。

Adam
Adam and Eve
Eve
Garden of Eden
Hell
The Garden of Earthly Delights


subsection

乾草車の三連祭壇画

The Haywain triptych follows a similar narrative to The Garden of Earthly Delights. The left panel shows God giving form to Eve.  Unlike the Garden, though, a narrative sequence flows through the panel in different scenes.  At the top, the rebel angels are cast out of Heaven while God sits enthroned, the angels turning into insects as they break through the clouds. Below this, God creates Eve from the rib of Adam. Next, Adam and Eve find the serpent and the tree; the serpent offers them an apple. Finally, at the lowest part of the panel, the angel forces the two out of the Garden of Eden. Adam speaks with the angel; Eve, in a melancholic pose, looks ahead to the right.The central panel features a large wagon of hay surrounded by a multitude of fools engaged in a variety of sins, quite apart from the sins of lust which dominates the Garden of Earthly Delights. In the center panel Bosch shows Christ in the sky, not paralleled in the Garden. An angel on top of the wagon looks to the sky, praying, but none of the other figures see Christ looking down on the world. The rightward bow of the figures around the wagon provides the force for the viewer's eye to move with them on their journey and the cart is drawn by infernal beings which drag everyone to Hell, depicted on the right panel.The forward kinetic motion of the participants moves the viewer from present-day sin into unadulterated torture in the realms of Hell. The procession on the left side of this panel bends back into the middle ground, but the right side figures continue in a straight line with the wagon, a more evident progress into damnation.

Prompt: 乾草車の三連祭壇画では、どのように歴史のメインパネルが説明されていますか？英語で出力して下さい。

Adam
Adam and Eve
Eve
Garden of Eden
Hell
The Garden of Earthly Delights


subsection

乾草車の三連祭壇画

The Haywain triptych follows a similar narrative to The Garden of Earthly Delights. The left panel shows God giving form to Eve.  Unlike the Garden, though, a narrative sequence flows through the panel in different scenes.  At the top, the rebel angels are cast out of Heaven while God sits enthroned, the angels turning into insects as they break through the clouds. Below this, God creates Eve from the rib of Adam. Next, Adam and Eve find the serpent and the tree; the serpent offers them an apple. Finally, at the lowest part of the panel, the angel forces the two out of the Garden of Eden. Adam speaks with the angel; Eve, in a melancholic pose, looks ahead to the right.The central panel features a large wagon of hay surrounded by a multitude of fools engaged in a variety of sins, quite apart from the sins of lust which dominates the Garden of Earthly Delights. In the center panel Bosch shows Christ in the sky, not paralleled in the Garden. An angel on top of the wagon looks to the sky, praying, but none of the other figures see Christ looking down on the world. The rightward bow of the figures around the wagon provides the force for the viewer's eye to move with them on their journey and the cart is drawn by infernal beings which drag everyone to Hell, depicted on the right panel.The forward kinetic motion of the participants moves the viewer from present-day sin into unadulterated torture in the realms of Hell. The procession on the left side of this panel bends back into the middle ground, but the right side figures continue in a straight line with the wagon, a more evident progress into damnation.

Prompt: 乾草車の三連祭壇画の歴史におけるメインパネルの特徴を説明してください。英語で出力して下さい。

Adam
Adam and Eve
Eve
Garden of Eden
Hell
The Garden of Earthly Delights


section

ウルビーノのヴィーナス

medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, "It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content." Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case "an undisguised hedonism had at last dispelled the Platonic metaphors".

Prompt: ウルビーノのヴィーナスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Edgar Wind
Florence
Giorgione
Renaissance
Titian
Uffizi


section

ウルビーノのヴィーナス

medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, "It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content." Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case "an undisguised hedonism had at last dispelled the Platonic metaphors".

Prompt: ウルビーノのヴィーナスの抽象を説明してください。英語で出力して下さい。

Edgar Wind
Florence
Giorgione
Renaissance
Titian
Uffizi


section

ウルビーノのヴィーナス

medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, "It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content." Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case "an undisguised hedonism had at last dispelled the Platonic metaphors".

Prompt: ウルビーノのヴィーナスはどのように抽象を説明していますか？英語で出力して下さい。

Edgar Wind
Florence
Giorgione
Renaissance
Titian
Uffizi


section

ウルビーノのヴィーナス

medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, "It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content." Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case "an undisguised hedonism had at last dispelled the Platonic metaphors".

Prompt: ウルビーノのヴィーナスに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Edgar Wind
Florence
Giorgione
Renaissance
Titian
Uffizi


section

ウルビーノのヴィーナス

The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as "the nude woman", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand "caressing" her genitals as such a reference, as it was believed at the time that a female "emission" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.

Prompt: ウルビーノのヴィーナスに焦点を当てて、その説明を説明してください。英語で出力して下さい。

Duchy of Urbino
Duke of Camerino
Duchy of Urbino
Fernando d'Ávalos
Guidobaldo II della Rovere
Ippolito de' Medici
Józef Grabski
Pesaro
Pope Clement VII
Titian
Venice
Vittoria Colonna


section

ウルビーノのヴィーナス

The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as "the nude woman", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand "caressing" her genitals as such a reference, as it was believed at the time that a female "emission" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.

Prompt: ウルビーノのヴィーナスの説明を説明してください。英語で出力して下さい。

Duchy of Urbino
Duke of Camerino
Duchy of Urbino
Fernando d'Ávalos
Guidobaldo II della Rovere
Ippolito de' Medici
Józef Grabski
Pesaro
Pope Clement VII
Titian
Venice
Vittoria Colonna


section

ウルビーノのヴィーナス

The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as "the nude woman", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand "caressing" her genitals as such a reference, as it was believed at the time that a female "emission" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.

Prompt: ウルビーノのヴィーナスはどのように説明を説明していますか？英語で出力して下さい。

Duchy of Urbino
Duke of Camerino
Duchy of Urbino
Fernando d'Ávalos
Guidobaldo II della Rovere
Ippolito de' Medici
Józef Grabski
Pesaro
Pope Clement VII
Titian
Venice
Vittoria Colonna


section

ウルビーノのヴィーナス

The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as "the nude woman", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand "caressing" her genitals as such a reference, as it was believed at the time that a female "emission" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.

Prompt: ウルビーノのヴィーナスに関して、どのように説明が議論されていますか？英語で出力して下さい。

Duchy of Urbino
Duke of Camerino
Duchy of Urbino
Fernando d'Ávalos
Guidobaldo II della Rovere
Ippolito de' Medici
Józef Grabski
Pesaro
Pope Clement VII
Titian
Venice
Vittoria Colonna


section

ウルビーノのヴィーナス

Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.

Prompt: ウルビーノのヴィーナスに焦点を当てて、その彫刻を説明してください。英語で出力して下さい。

Lorenzo Bartolini
Musée Fabre
Port Sunlight
Titian


section

ウルビーノのヴィーナス

Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.

Prompt: ウルビーノのヴィーナスの彫刻を説明してください。英語で出力して下さい。

Lorenzo Bartolini
Musée Fabre
Port Sunlight
Titian


section

ウルビーノのヴィーナス

Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.

Prompt: ウルビーノのヴィーナスはどのように彫刻を説明していますか？英語で出力して下さい。

Lorenzo Bartolini
Musée Fabre
Port Sunlight
Titian


section

ウルビーノのヴィーナス

Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.

Prompt: ウルビーノのヴィーナスに関して、どのように彫刻が議論されていますか？英語で出力して下さい。

Lorenzo Bartolini
Musée Fabre
Port Sunlight
Titian


section

ウルビーノのヴィーナス

List of works by Titian Renaissance in Urbino

Prompt: ウルビーノのヴィーナスに焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of works by Titian
Renaissance
Renaissance in Urbino
Titian


section

ウルビーノのヴィーナス

List of works by Titian Renaissance in Urbino

Prompt: ウルビーノのヴィーナスの参照を説明してください。英語で出力して下さい。

List of works by Titian
Renaissance
Renaissance in Urbino
Titian


section

ウルビーノのヴィーナス

List of works by Titian Renaissance in Urbino

Prompt: ウルビーノのヴィーナスはどのように参照を説明していますか？英語で出力して下さい。

List of works by Titian
Renaissance
Renaissance in Urbino
Titian


section

ウルビーノのヴィーナス

List of works by Titian Renaissance in Urbino

Prompt: ウルビーノのヴィーナスに関して、どのように参照が議論されていますか？英語で出力して下さい。

List of works by Titian
Renaissance
Renaissance in Urbino
Titian


section

ウルビーノのヴィーナス

Goffen, Rona , "Sex, Space and Social History in Titian's Venus of Urbino", in Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , "Classical antiquity in Venetian Renaissance subject matter", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books

Prompt: ウルビーノのヴィーナスに焦点を当てて、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

ウルビーノのヴィーナス

Goffen, Rona , "Sex, Space and Social History in Titian's Venus of Urbino", in Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , "Classical antiquity in Venetian Renaissance subject matter", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books

Prompt: ウルビーノのヴィーナス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

ウルビーノのヴィーナス

Goffen, Rona , "Sex, Space and Social History in Titian's Venus of Urbino", in Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , "Classical antiquity in Venetian Renaissance subject matter", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books

Prompt: ウルビーノのヴィーナス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

ウルビーノのヴィーナス

Goffen, Rona , "Sex, Space and Social History in Titian's Venus of Urbino", in Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , "Classical antiquity in Venetian Renaissance subject matter", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books

Prompt: ウルビーノのヴィーナスに関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

ウルビーノのヴィーナス

Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press

Prompt: ウルビーノのヴィーナスに焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

ウルビーノのヴィーナス

Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press

Prompt: ウルビーノのヴィーナスのさらなる読書を説明してください。英語で出力して下さい。


section

ウルビーノのヴィーナス

Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press

Prompt: ウルビーノのヴィーナスはどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

ウルビーノのヴィーナス

Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press

Prompt: ウルビーノのヴィーナスに関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


subsection

ウルビーノのヴィーナス

In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino "the foulest, the vilest, the obscenest picture the world possesses." He proposed that "it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong", adding humorously that "in truth, it is a trifle too strong for any place but a public art gallery". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the "last eighty or ninety years". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had "stood in innocent nakedness for ages."The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.

Prompt: ウルビーノのヴィーナスの文脈で、後史と説明を説明してください。英語で出力して下さい。

A Tramp Abroad
Ferdinando II de' Medici
Johan Zoffany
Mark Twain
Papal States
Pesaro
Uffizi
Venice
Victorine Meurent
Vittoria della Rovere
Édouard Manet


subsection

ウルビーノのヴィーナス

In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino "the foulest, the vilest, the obscenest picture the world possesses." He proposed that "it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong", adding humorously that "in truth, it is a trifle too strong for any place but a public art gallery". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the "last eighty or ninety years". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had "stood in innocent nakedness for ages."The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.

Prompt: ウルビーノのヴィーナスの説明に関する後史を説明してください。英語で出力して下さい。

A Tramp Abroad
Ferdinando II de' Medici
Johan Zoffany
Mark Twain
Papal States
Pesaro
Uffizi
Venice
Victorine Meurent
Vittoria della Rovere
Édouard Manet


subsection

ウルビーノのヴィーナス

In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino "the foulest, the vilest, the obscenest picture the world possesses." He proposed that "it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong", adding humorously that "in truth, it is a trifle too strong for any place but a public art gallery". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the "last eighty or ninety years". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had "stood in innocent nakedness for ages."The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.

Prompt: ウルビーノのヴィーナスでは、どのように説明の後史が説明されていますか？英語で出力して下さい。

A Tramp Abroad
Ferdinando II de' Medici
Johan Zoffany
Mark Twain
Papal States
Pesaro
Uffizi
Venice
Victorine Meurent
Vittoria della Rovere
Édouard Manet


subsection

ウルビーノのヴィーナス

In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino "the foulest, the vilest, the obscenest picture the world possesses." He proposed that "it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong", adding humorously that "in truth, it is a trifle too strong for any place but a public art gallery". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the "last eighty or ninety years". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had "stood in innocent nakedness for ages."The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.

Prompt: ウルビーノのヴィーナスの説明における後史の特徴を説明してください。英語で出力して下さい。

A Tramp Abroad
Ferdinando II de' Medici
Johan Zoffany
Mark Twain
Papal States
Pesaro
Uffizi
Venice
Victorine Meurent
Vittoria della Rovere
Édouard Manet


section

糸車の聖母

The Madonna of the Yarnwinder  is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the nsdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition , suggesting that both evolved concurrently in Leonardo's workshop.The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a niddy-noddy used to collect spun yarn. The niddy-noddy serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and the implied narrative were highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.

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

Andrea del Sarto
Florence
High Renaissance
Leonardo da Vinci
Louis XII
Raphael
Yarn


section

糸車の聖母

The Madonna of the Yarnwinder  is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the nsdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition , suggesting that both evolved concurrently in Leonardo's workshop.The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a niddy-noddy used to collect spun yarn. The niddy-noddy serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and the implied narrative were highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.

Prompt: 糸車の聖母の抽象を説明してください。英語で出力して下さい。

Andrea del Sarto
Florence
High Renaissance
Leonardo da Vinci
Louis XII
Raphael
Yarn


section

糸車の聖母

The Madonna of the Yarnwinder  is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the nsdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition , suggesting that both evolved concurrently in Leonardo's workshop.The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a niddy-noddy used to collect spun yarn. The niddy-noddy serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and the implied narrative were highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.

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

Andrea del Sarto
Florence
High Renaissance
Leonardo da Vinci
Louis XII
Raphael
Yarn


section

糸車の聖母

The Madonna of the Yarnwinder  is a subject depicted by Leonardo da Vinci in at least one, and perhaps two paintings begun in 1499 or later. Leonardo was recorded as being at work on one such picture in Florence in 1501 for Florimond Robertet, a secretary to King Louis XII of France. This may have been delivered to the French court in 1507, though scholars are divided on this point. The subject is known today from several versions of which two, called the Buccleuch Madonna and the nsdowne Madonna, are thought to be partly by Leonardo's hand. The underdrawings of both paintings show similar experimental changes made to the composition , suggesting that both evolved concurrently in Leonardo's workshop.The composition shows the Virgin Mary seated in a landscape with the Christ child, who gazes at a niddy-noddy used to collect spun yarn. The niddy-noddy serves both as a symbol of Mary's domesticity and as a foreshadowing of the Cross on which Christ was crucified. The painting's dynamic composition and the implied narrative were highly influential on later High Renaissance depictions of the Madonna and Child by artists such as Raphael and Andrea del Sarto.

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

Andrea del Sarto
Florence
High Renaissance
Leonardo da Vinci
Louis XII
Raphael
Yarn


section

糸車の聖母

The earliest reference to a painting of this subject by Leonardo is in a letter of 14 April 1501 by Fra Pietro da Novellara, the head of the Carmelites in Florence, to Isabella d'Este, Marchioness of Mantua. Leonardo had recently returned to his native city following the French invasion of Milan in 1499; the intervening years he had spent first in Isabella's court, during which brief stay he produced a cartoon  for a portrait of her, and then in Venice. Isabella was determined to get a finished painting by Leonardo for her collection, and to that end she instructed Fra Pietro, her contact in Florence, to press Leonardo into agreeing to a commission. Two letters of reply by the friar survive. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe::"The little picture which he is doing is of a Madonna seated as if she were about to spin yarn. The Child has placed his foot on the basket of yarns and has grasped the yarn-winder and gazes attentively at four spokes that are in the form of a cross. As if desirous of the cross he smiles and holds it firm, and is unwilling to yield it to his Mother who seems to want to take it away from him."The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and nsdowne Madonnas in all respects except that there is no basket in either painting. Robertet's painting was probably commissioned late in 1499 just before Leonardo left Milan, and was possibly begun there.Scholars disagree on whether Robertet received his painting or not. In January 1507 Francesco Pandolfini, the Florentine ambassador to the French court in Blois, reported that “a little picture by [Leonardo’s] hand has recently been brought here and is held to be an excellent thing”. The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 .In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. These mention a “Madonna with a Child in her Arms”. This is thought to be evidence that one of the prime versions of the Madonna of the Yarnwinder remained in Leonardo's possession while the other was sent to Robertet.Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. However, the nsdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors.

Prompt: 糸車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。

Blois
Carmelites
Florence
French Revolution
Isabella d'Este
Mantua
Salaì
Yarn


section

糸車の聖母

The earliest reference to a painting of this subject by Leonardo is in a letter of 14 April 1501 by Fra Pietro da Novellara, the head of the Carmelites in Florence, to Isabella d'Este, Marchioness of Mantua. Leonardo had recently returned to his native city following the French invasion of Milan in 1499; the intervening years he had spent first in Isabella's court, during which brief stay he produced a cartoon  for a portrait of her, and then in Venice. Isabella was determined to get a finished painting by Leonardo for her collection, and to that end she instructed Fra Pietro, her contact in Florence, to press Leonardo into agreeing to a commission. Two letters of reply by the friar survive. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe::"The little picture which he is doing is of a Madonna seated as if she were about to spin yarn. The Child has placed his foot on the basket of yarns and has grasped the yarn-winder and gazes attentively at four spokes that are in the form of a cross. As if desirous of the cross he smiles and holds it firm, and is unwilling to yield it to his Mother who seems to want to take it away from him."The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and nsdowne Madonnas in all respects except that there is no basket in either painting. Robertet's painting was probably commissioned late in 1499 just before Leonardo left Milan, and was possibly begun there.Scholars disagree on whether Robertet received his painting or not. In January 1507 Francesco Pandolfini, the Florentine ambassador to the French court in Blois, reported that “a little picture by [Leonardo’s] hand has recently been brought here and is held to be an excellent thing”. The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 .In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. These mention a “Madonna with a Child in her Arms”. This is thought to be evidence that one of the prime versions of the Madonna of the Yarnwinder remained in Leonardo's possession while the other was sent to Robertet.Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. However, the nsdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors.

Prompt: 糸車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。

Blois
Carmelites
Florence
French Revolution
Isabella d'Este
Mantua
Salaì
Yarn


section

糸車の聖母

The earliest reference to a painting of this subject by Leonardo is in a letter of 14 April 1501 by Fra Pietro da Novellara, the head of the Carmelites in Florence, to Isabella d'Este, Marchioness of Mantua. Leonardo had recently returned to his native city following the French invasion of Milan in 1499; the intervening years he had spent first in Isabella's court, during which brief stay he produced a cartoon  for a portrait of her, and then in Venice. Isabella was determined to get a finished painting by Leonardo for her collection, and to that end she instructed Fra Pietro, her contact in Florence, to press Leonardo into agreeing to a commission. Two letters of reply by the friar survive. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe::"The little picture which he is doing is of a Madonna seated as if she were about to spin yarn. The Child has placed his foot on the basket of yarns and has grasped the yarn-winder and gazes attentively at four spokes that are in the form of a cross. As if desirous of the cross he smiles and holds it firm, and is unwilling to yield it to his Mother who seems to want to take it away from him."The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and nsdowne Madonnas in all respects except that there is no basket in either painting. Robertet's painting was probably commissioned late in 1499 just before Leonardo left Milan, and was possibly begun there.Scholars disagree on whether Robertet received his painting or not. In January 1507 Francesco Pandolfini, the Florentine ambassador to the French court in Blois, reported that “a little picture by [Leonardo’s] hand has recently been brought here and is held to be an excellent thing”. The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 .In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. These mention a “Madonna with a Child in her Arms”. This is thought to be evidence that one of the prime versions of the Madonna of the Yarnwinder remained in Leonardo's possession while the other was sent to Robertet.Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. However, the nsdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors.

Prompt: 糸車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。

Blois
Carmelites
Florence
French Revolution
Isabella d'Este
Mantua
Salaì
Yarn


section

糸車の聖母

The earliest reference to a painting of this subject by Leonardo is in a letter of 14 April 1501 by Fra Pietro da Novellara, the head of the Carmelites in Florence, to Isabella d'Este, Marchioness of Mantua. Leonardo had recently returned to his native city following the French invasion of Milan in 1499; the intervening years he had spent first in Isabella's court, during which brief stay he produced a cartoon  for a portrait of her, and then in Venice. Isabella was determined to get a finished painting by Leonardo for her collection, and to that end she instructed Fra Pietro, her contact in Florence, to press Leonardo into agreeing to a commission. Two letters of reply by the friar survive. In the second, written after he had succeeded in meeting with the artist, he writes that Leonardo has become distracted by his mathematical pursuits and is busy working on a small painting for Florimond Robertet, which he goes on to describe::"The little picture which he is doing is of a Madonna seated as if she were about to spin yarn. The Child has placed his foot on the basket of yarns and has grasped the yarn-winder and gazes attentively at four spokes that are in the form of a cross. As if desirous of the cross he smiles and holds it firm, and is unwilling to yield it to his Mother who seems to want to take it away from him."The passage is valuable for being one of the few descriptions by a contemporary viewer of a work by Leonardo; it matches the composition of the Buccleuch and nsdowne Madonnas in all respects except that there is no basket in either painting. Robertet's painting was probably commissioned late in 1499 just before Leonardo left Milan, and was possibly begun there.Scholars disagree on whether Robertet received his painting or not. In January 1507 Francesco Pandolfini, the Florentine ambassador to the French court in Blois, reported that “a little picture by [Leonardo’s] hand has recently been brought here and is held to be an excellent thing”. The Madonna does not, however, appear in a posthumous inventory of Robertet's collection made in 1532 .In 1525 two inventories were drawn up of the possessions of Leonardo's assistant and heir Salaì, who died the preceding year. These mention a “Madonna with a Child in her Arms”. This is thought to be evidence that one of the prime versions of the Madonna of the Yarnwinder remained in Leonardo's possession while the other was sent to Robertet.Neither of the paintings accepted as prime versions has a provenance that can be traced back to Robertet or Salaì, or further back than the 18th century, though the Buccleuch Madonna was in France at that time. However, the nsdowne Madonna could easily have been bought by its earliest known owners from a French collection in the period following the French Revolution, when many works with a French aristocratic provenance were bought by British collectors.

Prompt: 糸車の聖母に関して、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。

Blois
Carmelites
Florence
French Revolution
Isabella d'Este
Mantua
Salaì
Yarn


section

糸車の聖母

The composition of the Madonna of the Yarnwinder shows the Christ child twisting his body away from his mother's embrace, his eye caught by her niddy-noddy whose arms  give it the shape of a cross; he precociously recognises it as a symbol of his destiny. The Virgin's reaction is ambiguous, a mixture of alarm at the harm her son will come to and resigned acceptance of it. The gesture of suspense made with her right hand is repeated from Leonardo's Milanese altarpiece The Virgin of the Rocks. The use of a symbol of the Passion as an object of childish play recurs throughout Leonardo's paintings, appearing for instance in the Benois Madonna and the Virgin and Child with St Anne. It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. For Martin Kemp the “late” character of the landscape in the nsdowne Madonna suggests that it was the later painting to be completed and that the Buccleuch Madonna was the one sent to Robertet in 1507.The underdrawings of both the Buccleuch and nsdowne Madonnas show several features not in the finished works, but present in some copies; it is likely that these were originally copied from the prime versions during an early stage of the composition's development. One such feature, which appears in both underdrawings, is a group of figures identified as Saint Joseph making a baby walker for the Christ child, who appears with his mother and another female figure, probably a midwife. It has also been suggested that the child learning to walk is the infant John the Baptist, appearing with his mother Saint Elizabeth, as Leonardo would have been unlikely to depict the figures of Mary and Christ twice in the same painting. Leonardo also experimented with including some kind of beast of burden – a horse, ass or ox – which appears in different positions in the two underdrawings. Behind these an architectural structure with an arched opening was planned. At a later stage the landscape of the Buccleuch picture seems to have had a bridge like that of the nsdowne Madonna, which was then painted over.

Prompt: 糸車の聖母に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Benois Madonna
John the Baptist
Saint Joseph
Virgin of the Rocks
Yarn


section

糸車の聖母

The composition of the Madonna of the Yarnwinder shows the Christ child twisting his body away from his mother's embrace, his eye caught by her niddy-noddy whose arms  give it the shape of a cross; he precociously recognises it as a symbol of his destiny. The Virgin's reaction is ambiguous, a mixture of alarm at the harm her son will come to and resigned acceptance of it. The gesture of suspense made with her right hand is repeated from Leonardo's Milanese altarpiece The Virgin of the Rocks. The use of a symbol of the Passion as an object of childish play recurs throughout Leonardo's paintings, appearing for instance in the Benois Madonna and the Virgin and Child with St Anne. It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. For Martin Kemp the “late” character of the landscape in the nsdowne Madonna suggests that it was the later painting to be completed and that the Buccleuch Madonna was the one sent to Robertet in 1507.The underdrawings of both the Buccleuch and nsdowne Madonnas show several features not in the finished works, but present in some copies; it is likely that these were originally copied from the prime versions during an early stage of the composition's development. One such feature, which appears in both underdrawings, is a group of figures identified as Saint Joseph making a baby walker for the Christ child, who appears with his mother and another female figure, probably a midwife. It has also been suggested that the child learning to walk is the infant John the Baptist, appearing with his mother Saint Elizabeth, as Leonardo would have been unlikely to depict the figures of Mary and Christ twice in the same painting. Leonardo also experimented with including some kind of beast of burden – a horse, ass or ox – which appears in different positions in the two underdrawings. Behind these an architectural structure with an arched opening was planned. At a later stage the landscape of the Buccleuch picture seems to have had a bridge like that of the nsdowne Madonna, which was then painted over.

Prompt: 糸車の聖母の説明を説明してください。英語で出力して下さい。

Benois Madonna
John the Baptist
Saint Joseph
Virgin of the Rocks
Yarn


section

糸車の聖母

The composition of the Madonna of the Yarnwinder shows the Christ child twisting his body away from his mother's embrace, his eye caught by her niddy-noddy whose arms  give it the shape of a cross; he precociously recognises it as a symbol of his destiny. The Virgin's reaction is ambiguous, a mixture of alarm at the harm her son will come to and resigned acceptance of it. The gesture of suspense made with her right hand is repeated from Leonardo's Milanese altarpiece The Virgin of the Rocks. The use of a symbol of the Passion as an object of childish play recurs throughout Leonardo's paintings, appearing for instance in the Benois Madonna and the Virgin and Child with St Anne. It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. For Martin Kemp the “late” character of the landscape in the nsdowne Madonna suggests that it was the later painting to be completed and that the Buccleuch Madonna was the one sent to Robertet in 1507.The underdrawings of both the Buccleuch and nsdowne Madonnas show several features not in the finished works, but present in some copies; it is likely that these were originally copied from the prime versions during an early stage of the composition's development. One such feature, which appears in both underdrawings, is a group of figures identified as Saint Joseph making a baby walker for the Christ child, who appears with his mother and another female figure, probably a midwife. It has also been suggested that the child learning to walk is the infant John the Baptist, appearing with his mother Saint Elizabeth, as Leonardo would have been unlikely to depict the figures of Mary and Christ twice in the same painting. Leonardo also experimented with including some kind of beast of burden – a horse, ass or ox – which appears in different positions in the two underdrawings. Behind these an architectural structure with an arched opening was planned. At a later stage the landscape of the Buccleuch picture seems to have had a bridge like that of the nsdowne Madonna, which was then painted over.

Prompt: 糸車の聖母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。

Benois Madonna
John the Baptist
Saint Joseph
Virgin of the Rocks
Yarn


section

糸車の聖母

The composition of the Madonna of the Yarnwinder shows the Christ child twisting his body away from his mother's embrace, his eye caught by her niddy-noddy whose arms  give it the shape of a cross; he precociously recognises it as a symbol of his destiny. The Virgin's reaction is ambiguous, a mixture of alarm at the harm her son will come to and resigned acceptance of it. The gesture of suspense made with her right hand is repeated from Leonardo's Milanese altarpiece The Virgin of the Rocks. The use of a symbol of the Passion as an object of childish play recurs throughout Leonardo's paintings, appearing for instance in the Benois Madonna and the Virgin and Child with St Anne. It is possible that the landscape of the former picture was added by a pupil after Leonardo failed to complete the work. For Martin Kemp the “late” character of the landscape in the nsdowne Madonna suggests that it was the later painting to be completed and that the Buccleuch Madonna was the one sent to Robertet in 1507.The underdrawings of both the Buccleuch and nsdowne Madonnas show several features not in the finished works, but present in some copies; it is likely that these were originally copied from the prime versions during an early stage of the composition's development. One such feature, which appears in both underdrawings, is a group of figures identified as Saint Joseph making a baby walker for the Christ child, who appears with his mother and another female figure, probably a midwife. It has also been suggested that the child learning to walk is the infant John the Baptist, appearing with his mother Saint Elizabeth, as Leonardo would have been unlikely to depict the figures of Mary and Christ twice in the same painting. Leonardo also experimented with including some kind of beast of burden – a horse, ass or ox – which appears in different positions in the two underdrawings. Behind these an architectural structure with an arched opening was planned. At a later stage the landscape of the Buccleuch picture seems to have had a bridge like that of the nsdowne Madonna, which was then painted over.

Prompt: 糸車の聖母に関して、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。

Benois Madonna
John the Baptist
Saint Joseph
Virgin of the Rocks
Yarn


section

糸車の聖母

The version of this painting often regarded as the most likely to be by Leonardo is now in the Scottish National Gallery in Edinburgh, on loan from the Duke of Buccleuch.  It hung in his ancestral home in Drumlanrig Castle, Dumfries and Galloway, Scotland, until it was stolen in 2003. It entered the Buccleuch collection in 1767, with the marriage of the 3rd Duke to dy Elizabeth Montagu, the heiress to a substantial collection of works assembled by her parents, the Duke and Duchess of Montagu. This Madonna of the Yarnwinder was bought at auction in Paris in 1756 from a sale of the collection of Marie-Joseph duc d’Hostun et de Tallard, its earliest documented owner.

Prompt: 糸車の聖母に焦点を当てて、そのバクルーのマドンナを説明してください。英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Scottish National Gallery
Yarn


section

糸車の聖母

The version of this painting often regarded as the most likely to be by Leonardo is now in the Scottish National Gallery in Edinburgh, on loan from the Duke of Buccleuch.  It hung in his ancestral home in Drumlanrig Castle, Dumfries and Galloway, Scotland, until it was stolen in 2003. It entered the Buccleuch collection in 1767, with the marriage of the 3rd Duke to dy Elizabeth Montagu, the heiress to a substantial collection of works assembled by her parents, the Duke and Duchess of Montagu. This Madonna of the Yarnwinder was bought at auction in Paris in 1756 from a sale of the collection of Marie-Joseph duc d’Hostun et de Tallard, its earliest documented owner.

Prompt: 糸車の聖母のバクルーのマドンナを説明してください。英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Scottish National Gallery
Yarn


section

糸車の聖母

The version of this painting often regarded as the most likely to be by Leonardo is now in the Scottish National Gallery in Edinburgh, on loan from the Duke of Buccleuch.  It hung in his ancestral home in Drumlanrig Castle, Dumfries and Galloway, Scotland, until it was stolen in 2003. It entered the Buccleuch collection in 1767, with the marriage of the 3rd Duke to dy Elizabeth Montagu, the heiress to a substantial collection of works assembled by her parents, the Duke and Duchess of Montagu. This Madonna of the Yarnwinder was bought at auction in Paris in 1756 from a sale of the collection of Marie-Joseph duc d’Hostun et de Tallard, its earliest documented owner.

Prompt: 糸車の聖母はどのようにバクルーのマドンナを説明していますか？英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Scottish National Gallery
Yarn


section

糸車の聖母

The version of this painting often regarded as the most likely to be by Leonardo is now in the Scottish National Gallery in Edinburgh, on loan from the Duke of Buccleuch.  It hung in his ancestral home in Drumlanrig Castle, Dumfries and Galloway, Scotland, until it was stolen in 2003. It entered the Buccleuch collection in 1767, with the marriage of the 3rd Duke to dy Elizabeth Montagu, the heiress to a substantial collection of works assembled by her parents, the Duke and Duchess of Montagu. This Madonna of the Yarnwinder was bought at auction in Paris in 1756 from a sale of the collection of Marie-Joseph duc d’Hostun et de Tallard, its earliest documented owner.

Prompt: 糸車の聖母に関して、どのようにバクルーのマドンナが議論されていますか？英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Scottish National Gallery
Yarn


section

糸車の聖母

The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of nsdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of nsdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of nsdowne's collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand.The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. During a loan to the New York World's Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford's family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna  to its current owner, an anonymous private collector, in 1999.

Prompt: 糸車の聖母に焦点を当てて、そのランズダウンマドンナを説明してください。英語で出力して下さい。

Bernard Berenson
René Gimpel
Robert Wilson Reford
Yarn


section

糸車の聖母

The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of nsdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of nsdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of nsdowne's collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand.The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. During a loan to the New York World's Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford's family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna  to its current owner, an anonymous private collector, in 1999.

Prompt: 糸車の聖母のランズダウンマドンナを説明してください。英語で出力して下さい。

Bernard Berenson
René Gimpel
Robert Wilson Reford
Yarn


section

糸車の聖母

The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of nsdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of nsdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of nsdowne's collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand.The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. During a loan to the New York World's Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford's family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna  to its current owner, an anonymous private collector, in 1999.

Prompt: 糸車の聖母はどのようにランズダウンマドンナを説明していますか？英語で出力して下さい。

Bernard Berenson
René Gimpel
Robert Wilson Reford
Yarn


section

糸車の聖母

The painting sometimes considered the second prime version of the Madonna of the Yarnwinder takes its name from the Marquesses of nsdowne, who owned it in the 19th century. John Henry Petty, then Earl Wycombe and later the 2nd Marquess of nsdowne, bought it some time in or before 1809, possibly from the Earl of Darnley. It is first recorded in a sale of the Dowager Marchioness of nsdowne's collection in 1833, from which it was withdrawn. The painting remained in her family until 1879, when her daughter sold it to Cyril Flower, later Lord Battersea. In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand.The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate. In the 1930s it underwent X-ray and ultraviolet examination for the first time, led by a team which included the art historian Wilhelm Suida. During a loan to the New York World's Fair in 1939 the painting was damaged and further restoration work had to be undertaken. Reford's family put it up for auction in 1972, but by then the attribution had reverted to Sodoma, inevitably resulting in a lower price than had it been accepted as a Leonardo. It was bought back by Wildenstein & Company, who arranged for it to be transferred a second time, this time onto a composite panel, in 1976. They sold the Madonna  to its current owner, an anonymous private collector, in 1999.

Prompt: 糸車の聖母に関して、どのようにランズダウンマドンナが議論されていますか？英語で出力して下さい。

Bernard Berenson
René Gimpel
Robert Wilson Reford
Yarn


section

糸車の聖母

Nearly forty versions of the Madonna of the Yarnwinder made by pupils and followers of Leonardo survive today. Many show elements which were discarded as the prime version, or versions, evolved over a long period of time. Some include the figure group in the middle ground visible in the Buccleuch and nsdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. Some artists elaborated on Leonardo's composition with the addition of still lives or extra figures.The Madonna of the Yarnwinder’s composition was especially popular in Spain, where it might have been brought over by Fernando Yáñez de la Almedina or Hernando de los Llanos . Both painters were trained in Florence in the first years of the 16th century, and either might be the “Ferrando spagnolo” mentioned as a pupil of Leonardo when the master was working on the fresco of the Battle of Anghiari in the Palazzo della Signoria in 1505.

Prompt: 糸車の聖母に焦点を当てて、その影響  コピーを説明してください。英語で出力して下さい。

Fernando Yáñez de la Almedina
Florence
Hernando de los Llanos
Leonardeschi
Yarn


section

糸車の聖母

Nearly forty versions of the Madonna of the Yarnwinder made by pupils and followers of Leonardo survive today. Many show elements which were discarded as the prime version, or versions, evolved over a long period of time. Some include the figure group in the middle ground visible in the Buccleuch and nsdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. Some artists elaborated on Leonardo's composition with the addition of still lives or extra figures.The Madonna of the Yarnwinder’s composition was especially popular in Spain, where it might have been brought over by Fernando Yáñez de la Almedina or Hernando de los Llanos . Both painters were trained in Florence in the first years of the 16th century, and either might be the “Ferrando spagnolo” mentioned as a pupil of Leonardo when the master was working on the fresco of the Battle of Anghiari in the Palazzo della Signoria in 1505.

Prompt: 糸車の聖母の影響  コピーを説明してください。英語で出力して下さい。

Fernando Yáñez de la Almedina
Florence
Hernando de los Llanos
Leonardeschi
Yarn


section

糸車の聖母

Nearly forty versions of the Madonna of the Yarnwinder made by pupils and followers of Leonardo survive today. Many show elements which were discarded as the prime version, or versions, evolved over a long period of time. Some include the figure group in the middle ground visible in the Buccleuch and nsdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. Some artists elaborated on Leonardo's composition with the addition of still lives or extra figures.The Madonna of the Yarnwinder’s composition was especially popular in Spain, where it might have been brought over by Fernando Yáñez de la Almedina or Hernando de los Llanos . Both painters were trained in Florence in the first years of the 16th century, and either might be the “Ferrando spagnolo” mentioned as a pupil of Leonardo when the master was working on the fresco of the Battle of Anghiari in the Palazzo della Signoria in 1505.

Prompt: 糸車の聖母はどのように影響  コピーを説明していますか？英語で出力して下さい。

Fernando Yáñez de la Almedina
Florence
Hernando de los Llanos
Leonardeschi
Yarn


section

糸車の聖母

Nearly forty versions of the Madonna of the Yarnwinder made by pupils and followers of Leonardo survive today. Many show elements which were discarded as the prime version, or versions, evolved over a long period of time. Some include the figure group in the middle ground visible in the Buccleuch and nsdowne underdrawings; others show the basket of wool described by Fra Pietro da Novellara, though to Christ's side rather than beneath his foot. Eight paintings, including the copy in the Louvre, show a different kind of rocky outcrop in the foreground from those in the prime versions; many of these are probably by Lombard Leonardeschi. Some artists elaborated on Leonardo's composition with the addition of still lives or extra figures.The Madonna of the Yarnwinder’s composition was especially popular in Spain, where it might have been brought over by Fernando Yáñez de la Almedina or Hernando de los Llanos . Both painters were trained in Florence in the first years of the 16th century, and either might be the “Ferrando spagnolo” mentioned as a pupil of Leonardo when the master was working on the fresco of the Battle of Anghiari in the Palazzo della Signoria in 1505.

Prompt: 糸車の聖母に関して、どのように影響  コピーが議論されていますか？英語で出力して下さい。

Fernando Yáñez de la Almedina
Florence
Hernando de los Llanos
Leonardeschi
Yarn


section

糸車の聖母

Prompt: 糸車の聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

糸車の聖母

Prompt: 糸車の聖母の参照を説明してください。英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

糸車の聖母

Prompt: 糸車の聖母はどのように参照を説明していますか？英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

糸車の聖母

Prompt: 糸車の聖母に関して、どのように参照が議論されていますか？英語で出力して下さい。

Leonardo da Vinci
List of works by Leonardo da Vinci


section

糸車の聖母

Prompt: 糸車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。


section

糸車の聖母

Prompt: 糸車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

糸車の聖母

Prompt: 糸車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

糸車の聖母

Prompt: 糸車の聖母に関して、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。


subsection

糸車の聖母

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, ncashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonnas recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland  in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier.

Prompt: 糸車の聖母の文脈で、盗難と回収とバクルーのマドンナを説明してください。英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Glasgow
Skelmersdale
The Scotsman


subsection

糸車の聖母

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, ncashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonnas recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland  in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier.

Prompt: 糸車の聖母のバクルーのマドンナに関する盗難と回収を説明してください。英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Glasgow
Skelmersdale
The Scotsman


subsection

糸車の聖母

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, ncashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonnas recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland  in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier.

Prompt: 糸車の聖母では、どのようにバクルーのマドンナの盗難と回収が説明されていますか？英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Glasgow
Skelmersdale
The Scotsman


subsection

糸車の聖母

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, ncashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonnas recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland  in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier.

Prompt: 糸車の聖母のバクルーのマドンナにおける盗難と回収の特徴を説明してください。英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Glasgow
Skelmersdale
The Scotsman


subsection

糸車の聖母

Madonna of the Yarnwinder , Uffizi, Florence. Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh. Fernando Yáñez de la Almedina, The Holy Family , formerly in the Carlos Grether collection, Buenos Aires Attributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John , National Gallery of Art, Washington, D.C. Hernando de los Llanos, Rest on the Flight into Egypt , Valencia Cathedral. Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MA Madonna of the Yarnwinder, Granada Cathedral. Madonna of the Yarnwinder , Apsley House, London. Madonna of the Yarnwinder, Prince's Palace of Monaco. Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich. Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections. Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection. Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome. Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba. Luis de Morales, Madonna of the Yarnwinder , Hispanic Society of America, New York City.

Prompt: 糸車の聖母の文脈で、コピーのリストとバクルーのマドンナを説明してください。英語で出力して下さい。

Apsley House
Buenos Aires
Cesare da Sesto
Edinburgh
Fernando Yáñez de la Almedina
Florence
Galleria Nazionale d'Arte Antica
Granada Cathedral
Hernando de los Llanos
Hispanic Society of America
Luis de Morales
Martino Piazza
Munich
National Gallery of Art
Prince's Palace of Monaco
Rest on the Flight into Egypt
Scottish National Gallery
Uffizi
Valencia Cathedral
Worcester Art Museum
Yarn


subsection

糸車の聖母

Madonna of the Yarnwinder , Uffizi, Florence. Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh. Fernando Yáñez de la Almedina, The Holy Family , formerly in the Carlos Grether collection, Buenos Aires Attributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John , National Gallery of Art, Washington, D.C. Hernando de los Llanos, Rest on the Flight into Egypt , Valencia Cathedral. Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MA Madonna of the Yarnwinder, Granada Cathedral. Madonna of the Yarnwinder , Apsley House, London. Madonna of the Yarnwinder, Prince's Palace of Monaco. Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich. Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections. Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection. Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome. Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba. Luis de Morales, Madonna of the Yarnwinder , Hispanic Society of America, New York City.

Prompt: 糸車の聖母のバクルーのマドンナに関するコピーのリストを説明してください。英語で出力して下さい。

Apsley House
Buenos Aires
Cesare da Sesto
Edinburgh
Fernando Yáñez de la Almedina
Florence
Galleria Nazionale d'Arte Antica
Granada Cathedral
Hernando de los Llanos
Hispanic Society of America
Luis de Morales
Martino Piazza
Munich
National Gallery of Art
Prince's Palace of Monaco
Rest on the Flight into Egypt
Scottish National Gallery
Uffizi
Valencia Cathedral
Worcester Art Museum
Yarn