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バリェーカスの少年

Portrait of Francisco Lezcano or The "Niño de Vallecas" is the 1645 portrait by Diego Velázquez of Francisco Lezcano , also known as Lezcanillo or el Vizcaíno, a jester at the court of Philip IV of Spain. It has been in the Prado since 1819.The mountains round Madrid can be seen in the right background, whilst the subject holds cards in his hands. The painting is part of a series of paintings of jesters at the court, and this one was possibly painted whilst the subject was accompanying the king on a hunt, since he is shown in hunting attire in the open air. It was produced for display in the Torre de la Parada .On 28 July 1714 it was moved to the Palacio del Pardo, before appearing in 1772 at the home of infante Javier in the new Palacio Real in Madrid. In 1794 it was in the "Pieza de Trucos" of the same palace, at which time it gained its alternative name of Niño de Vallecas.

Prompt: バリェーカスの少年に関して、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。

Diego Velázquez
Madrid
Philip IV of Spain
Torre de la Parada


section

バリェーカスの少年

Prompt: バリェーカスの少年に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

バリェーカスの少年

Prompt: バリェーカスの少年の参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

バリェーカスの少年

Prompt: バリェーカスの少年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。

Diego Velázquez
List of works by Diego Velázquez


section

バリェーカスの少年

Prompt: バリェーカスの少年に関して、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。

Diego Velázquez
List of works by Diego Velázquez


section

バリェーカスの少年

Museo del Prado. Pintura española de los siglos XVI y XVII. Enrique fuente Ferrari. Aguilar S.A. 1964

Prompt: バリェーカスの少年に焦点を当てて、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

バリェーカスの少年

Museo del Prado. Pintura española de los siglos XVI y XVII. Enrique fuente Ferrari. Aguilar S.A. 1964

Prompt: バリェーカスの少年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

バリェーカスの少年

Museo del Prado. Pintura española de los siglos XVI y XVII. Enrique fuente Ferrari. Aguilar S.A. 1964

Prompt: バリェーカスの少年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

バリェーカスの少年

Museo del Prado. Pintura española de los siglos XVI y XVII. Enrique fuente Ferrari. Aguilar S.A. 1964

Prompt: バリェーカスの少年に関して、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

フアン・マルティネス・モンタニェースの肖像

The Portrait of Juan Martínez Montañés is an unfinished c.1635 oil on canvas portrait of the sculptor Juan Martínez Montañés by Diego Velázquez. It was in the Spanish royal collection, and is now in the collection of the Prado museum in Madrid.

Prompt: フアン・マルティネス・モンタニェースの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Diego Velázquez
Juan Martínez Montañés
Madrid
Spanish royal collection


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フアン・マルティネス・モンタニェースの肖像

The Portrait of Juan Martínez Montañés is an unfinished c.1635 oil on canvas portrait of the sculptor Juan Martínez Montañés by Diego Velázquez. It was in the Spanish royal collection, and is now in the collection of the Prado museum in Madrid.

Prompt: フアン・マルティネス・モンタニェースの肖像の抽象を説明してください。英語で出力して下さい。

Diego Velázquez
Juan Martínez Montañés
Madrid
Spanish royal collection


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フアン・マルティネス・モンタニェースの肖像

The Portrait of Juan Martínez Montañés is an unfinished c.1635 oil on canvas portrait of the sculptor Juan Martínez Montañés by Diego Velázquez. It was in the Spanish royal collection, and is now in the collection of the Prado museum in Madrid.

Prompt: フアン・マルティネス・モンタニェースの肖像はどのように抽象を説明していますか？英語で出力して下さい。

Diego Velázquez
Juan Martínez Montañés
Madrid
Spanish royal collection


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フアン・マルティネス・モンタニェースの肖像

The Portrait of Juan Martínez Montañés is an unfinished c.1635 oil on canvas portrait of the sculptor Juan Martínez Montañés by Diego Velázquez. It was in the Spanish royal collection, and is now in the collection of the Prado museum in Madrid.

Prompt: フアン・マルティネス・モンタニェースの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Diego Velázquez
Juan Martínez Montañés
Madrid
Spanish royal collection


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フアン・マルティネス・モンタニェースの肖像

Some art historians have suggested that the subject is Velázquez's brother-in-law Alonso Cano, which would date it to Cano's visit to Madrid in 1658, but most agree it depicts Juan Martínez Montañés based on the resemblance to other identified portraits.  On that basis, this portrait was probably painted while its subject called on Velázquez during his visit to Madrid between June 1635 and January 1636. The painting measures .  Montañés was called to the Spanish royal court in Madrid in 1635 to make a clay bust of Philip IV of Spain as the modello for the Florentine sculptor Pietro Tacca to make a bronze equestrian statue of Philip which is now in the Plaza de Oriente in Madrid.  The portrait shows the sculptor working on the bust of the king, shaping the clay with a stick, although the painting is unfinished and the bust is only shown in outline. At a time when artists were often seen as craftsman, Velázquez enhances the sculptor's social status by depicting him in formal black dress with white collar and cuffs, like a nobleman. Like Cano and Velázquez, Montañés lived and worked in Seville, but he was from the previous artistic generation: at the time of the portrait, Velázquez was 36, but Montañés was 67.  Montañés was well known to Velázquez, as Velázquez's master and father-in-law, Francisco Pacheco, had painted many sculptures made by Montañés.

Prompt: フアン・マルティネス・モンタニェースの肖像に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Alonso Cano
Francisco Pacheco
Juan Martínez Montañés
Madrid
Philip IV of Spain
Pietro Tacca
Plaza de Oriente
Seville


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フアン・マルティネス・モンタニェースの肖像

Some art historians have suggested that the subject is Velázquez's brother-in-law Alonso Cano, which would date it to Cano's visit to Madrid in 1658, but most agree it depicts Juan Martínez Montañés based on the resemblance to other identified portraits.  On that basis, this portrait was probably painted while its subject called on Velázquez during his visit to Madrid between June 1635 and January 1636. The painting measures .  Montañés was called to the Spanish royal court in Madrid in 1635 to make a clay bust of Philip IV of Spain as the modello for the Florentine sculptor Pietro Tacca to make a bronze equestrian statue of Philip which is now in the Plaza de Oriente in Madrid.  The portrait shows the sculptor working on the bust of the king, shaping the clay with a stick, although the painting is unfinished and the bust is only shown in outline. At a time when artists were often seen as craftsman, Velázquez enhances the sculptor's social status by depicting him in formal black dress with white collar and cuffs, like a nobleman. Like Cano and Velázquez, Montañés lived and worked in Seville, but he was from the previous artistic generation: at the time of the portrait, Velázquez was 36, but Montañés was 67.  Montañés was well known to Velázquez, as Velázquez's master and father-in-law, Francisco Pacheco, had painted many sculptures made by Montañés.

Prompt: フアン・マルティネス・モンタニェースの肖像の歴史を説明してください。英語で出力して下さい。

Alonso Cano
Francisco Pacheco
Juan Martínez Montañés
Madrid
Philip IV of Spain
Pietro Tacca
Plaza de Oriente
Seville


section

フアン・マルティネス・モンタニェースの肖像

Some art historians have suggested that the subject is Velázquez's brother-in-law Alonso Cano, which would date it to Cano's visit to Madrid in 1658, but most agree it depicts Juan Martínez Montañés based on the resemblance to other identified portraits.  On that basis, this portrait was probably painted while its subject called on Velázquez during his visit to Madrid between June 1635 and January 1636. The painting measures .  Montañés was called to the Spanish royal court in Madrid in 1635 to make a clay bust of Philip IV of Spain as the modello for the Florentine sculptor Pietro Tacca to make a bronze equestrian statue of Philip which is now in the Plaza de Oriente in Madrid.  The portrait shows the sculptor working on the bust of the king, shaping the clay with a stick, although the painting is unfinished and the bust is only shown in outline. At a time when artists were often seen as craftsman, Velázquez enhances the sculptor's social status by depicting him in formal black dress with white collar and cuffs, like a nobleman. Like Cano and Velázquez, Montañés lived and worked in Seville, but he was from the previous artistic generation: at the time of the portrait, Velázquez was 36, but Montañés was 67.  Montañés was well known to Velázquez, as Velázquez's master and father-in-law, Francisco Pacheco, had painted many sculptures made by Montañés.

Prompt: フアン・マルティネス・モンタニェースの肖像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。

Alonso Cano
Francisco Pacheco
Juan Martínez Montañés
Madrid
Philip IV of Spain
Pietro Tacca
Plaza de Oriente
Seville


section

フアン・マルティネス・モンタニェースの肖像

Some art historians have suggested that the subject is Velázquez's brother-in-law Alonso Cano, which would date it to Cano's visit to Madrid in 1658, but most agree it depicts Juan Martínez Montañés based on the resemblance to other identified portraits.  On that basis, this portrait was probably painted while its subject called on Velázquez during his visit to Madrid between June 1635 and January 1636. The painting measures .  Montañés was called to the Spanish royal court in Madrid in 1635 to make a clay bust of Philip IV of Spain as the modello for the Florentine sculptor Pietro Tacca to make a bronze equestrian statue of Philip which is now in the Plaza de Oriente in Madrid.  The portrait shows the sculptor working on the bust of the king, shaping the clay with a stick, although the painting is unfinished and the bust is only shown in outline. At a time when artists were often seen as craftsman, Velázquez enhances the sculptor's social status by depicting him in formal black dress with white collar and cuffs, like a nobleman. Like Cano and Velázquez, Montañés lived and worked in Seville, but he was from the previous artistic generation: at the time of the portrait, Velázquez was 36, but Montañés was 67.  Montañés was well known to Velázquez, as Velázquez's master and father-in-law, Francisco Pacheco, had painted many sculptures made by Montañés.

Prompt: フアン・マルティネス・モンタニェースの肖像に関して、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。

Alonso Cano
Francisco Pacheco
Juan Martínez Montañés
Madrid
Philip IV of Spain
Pietro Tacca
Plaza de Oriente
Seville


section

フアン・マルティネス・モンタニェースの肖像

Prompt: フアン・マルティネス・モンタニェースの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

フアン・マルティネス・モンタニェースの肖像

Prompt: フアン・マルティネス・モンタニェースの肖像の参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

フアン・マルティネス・モンタニェースの肖像

Prompt: フアン・マルティネス・モンタニェースの肖像はどのように参照を説明していますか？英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

フアン・マルティネス・モンタニェースの肖像

Prompt: フアン・マルティネス・モンタニェースの肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

マリア・テレサ王女 (ベラスケスの絵画)

The Infanta Maria Theresa of Spain or The Infanta Maria Theresa aged 14 is a portrait by Diego Velázquez of Maria Theresa of Spain, from 1653, when she was about thirteen years. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the strongest of artist' late portraits, showing its subject in a majestic pose, illuminated in a light dress against a dark background. Its seriousness and formality is added to by the two watches she carries, whilst the handkerchief in her left hand is one of the painting's highlights.Velázquez and his assistants created three paintings to be sent to potential husbands for the Infanta . Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre.

Prompt: マリア・テレサ王女 (ベラスケスの絵画)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。

Diego Velázquez
Kunsthistorisches Museum
Louvre
Maria Theresa of Spain
Museum of Fine Arts, Boston
Vienna


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マリア・テレサ王女 (ベラスケスの絵画)

The Infanta Maria Theresa of Spain or The Infanta Maria Theresa aged 14 is a portrait by Diego Velázquez of Maria Theresa of Spain, from 1653, when she was about thirteen years. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the strongest of artist' late portraits, showing its subject in a majestic pose, illuminated in a light dress against a dark background. Its seriousness and formality is added to by the two watches she carries, whilst the handkerchief in her left hand is one of the painting's highlights.Velázquez and his assistants created three paintings to be sent to potential husbands for the Infanta . Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre.

Prompt: マリア・テレサ王女 (ベラスケスの絵画)の抽象を説明してください。英語で出力して下さい。

Diego Velázquez
Kunsthistorisches Museum
Louvre
Maria Theresa of Spain
Museum of Fine Arts, Boston
Vienna


section

マリア・テレサ王女 (ベラスケスの絵画)

The Infanta Maria Theresa of Spain or The Infanta Maria Theresa aged 14 is a portrait by Diego Velázquez of Maria Theresa of Spain, from 1653, when she was about thirteen years. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the strongest of artist' late portraits, showing its subject in a majestic pose, illuminated in a light dress against a dark background. Its seriousness and formality is added to by the two watches she carries, whilst the handkerchief in her left hand is one of the painting's highlights.Velázquez and his assistants created three paintings to be sent to potential husbands for the Infanta . Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre.

Prompt: マリア・テレサ王女 (ベラスケスの絵画)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。

Diego Velázquez
Kunsthistorisches Museum
Louvre
Maria Theresa of Spain
Museum of Fine Arts, Boston
Vienna


section

マリア・テレサ王女 (ベラスケスの絵画)

The Infanta Maria Theresa of Spain or The Infanta Maria Theresa aged 14 is a portrait by Diego Velázquez of Maria Theresa of Spain, from 1653, when she was about thirteen years. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the strongest of artist' late portraits, showing its subject in a majestic pose, illuminated in a light dress against a dark background. Its seriousness and formality is added to by the two watches she carries, whilst the handkerchief in her left hand is one of the painting's highlights.Velázquez and his assistants created three paintings to be sent to potential husbands for the Infanta . Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre.

Prompt: マリア・テレサ王女 (ベラスケスの絵画)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。

Diego Velázquez
Kunsthistorisches Museum
Louvre
Maria Theresa of Spain
Museum of Fine Arts, Boston
Vienna


section

マリア・テレサ王女 (ベラスケスの絵画)

Prompt: マリア・テレサ王女 (ベラスケスの絵画)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。

Diego Velázquez
List of works by Diego Velázquez


section

マリア・テレサ王女 (ベラスケスの絵画)

Prompt: マリア・テレサ王女 (ベラスケスの絵画)の参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

マリア・テレサ王女 (ベラスケスの絵画)

Prompt: マリア・テレサ王女 (ベラスケスの絵画)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。

Diego Velázquez
List of works by Diego Velázquez


section

マリア・テレサ王女 (ベラスケスの絵画)

Prompt: マリア・テレサ王女 (ベラスケスの絵画)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。

Diego Velázquez
List of works by Diego Velázquez


section

マリア・テレサ王女 (ベラスケスの絵画)

Museo del Prado. Pintura española de los siglos XVI y XVII. Enrique fuente Ferrari. Aguilar S.A. 1964 Gállego, Julián.

Prompt: マリア・テレサ王女 (ベラスケスの絵画)に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

マリア・テレサ王女 (ベラスケスの絵画)

Museo del Prado. Pintura española de los siglos XVI y XVII. Enrique fuente Ferrari. Aguilar S.A. 1964 Gállego, Julián.

Prompt: マリア・テレサ王女 (ベラスケスの絵画)の情報源を説明してください。英語で出力して下さい。


section

マリア・テレサ王女 (ベラスケスの絵画)

Museo del Prado. Pintura española de los siglos XVI y XVII. Enrique fuente Ferrari. Aguilar S.A. 1964 Gállego, Julián.

Prompt: マリア・テレサ王女 (ベラスケスの絵画)はどのように情報源を説明していますか？英語で出力して下さい。


section

マリア・テレサ王女 (ベラスケスの絵画)

Museo del Prado. Pintura española de los siglos XVI y XVII. Enrique fuente Ferrari. Aguilar S.A. 1964 Gállego, Julián.

Prompt: マリア・テレサ王女 (ベラスケスの絵画)に関して、どのように情報源が議論されていますか？英語で出力して下さい。


section

ヨセフの衣を受けるヤコブ

Joseph's Tunic is a 1630 painting by Diego Velázquez, now held in the museum of the Sacristía Mayor del Monasterio de San Lorenzo de El Escorial . It was painted in the house of the Spanish ambassador in Rome and brought back to Spain with the painting Apollo in the Forge of Vulcan.

Prompt: ヨセフの衣を受けるヤコブに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Apollo in the Forge of Vulcan
Diego Velázquez
El Escorial
San Lorenzo de El Escorial
Spain


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ヨセフの衣を受けるヤコブ

Joseph's Tunic is a 1630 painting by Diego Velázquez, now held in the museum of the Sacristía Mayor del Monasterio de San Lorenzo de El Escorial . It was painted in the house of the Spanish ambassador in Rome and brought back to Spain with the painting Apollo in the Forge of Vulcan.

Prompt: ヨセフの衣を受けるヤコブの抽象を説明してください。英語で出力して下さい。

Apollo in the Forge of Vulcan
Diego Velázquez
El Escorial
San Lorenzo de El Escorial
Spain


section

ヨセフの衣を受けるヤコブ

Joseph's Tunic is a 1630 painting by Diego Velázquez, now held in the museum of the Sacristía Mayor del Monasterio de San Lorenzo de El Escorial . It was painted in the house of the Spanish ambassador in Rome and brought back to Spain with the painting Apollo in the Forge of Vulcan.

Prompt: ヨセフの衣を受けるヤコブ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。

Apollo in the Forge of Vulcan
Diego Velázquez
El Escorial
San Lorenzo de El Escorial
Spain


section

ヨセフの衣を受けるヤコブ

Joseph's Tunic is a 1630 painting by Diego Velázquez, now held in the museum of the Sacristía Mayor del Monasterio de San Lorenzo de El Escorial . It was painted in the house of the Spanish ambassador in Rome and brought back to Spain with the painting Apollo in the Forge of Vulcan.

Prompt: ヨセフの衣を受けるヤコブに関して、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。

Apollo in the Forge of Vulcan
Diego Velázquez
El Escorial
San Lorenzo de El Escorial
Spain


section

ヨセフの衣を受けるヤコブ

List of works by Diego Velázquez Coat of many colors

Prompt: ヨセフの衣を受けるヤコブに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Coat of many colors
Diego Velázquez
List of works by Diego Velázquez


section

ヨセフの衣を受けるヤコブ

List of works by Diego Velázquez Coat of many colors

Prompt: ヨセフの衣を受けるヤコブの参照を説明してください。英語で出力して下さい。

Coat of many colors
Diego Velázquez
List of works by Diego Velázquez


section

ヨセフの衣を受けるヤコブ

List of works by Diego Velázquez Coat of many colors

Prompt: ヨセフの衣を受けるヤコブ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。

Coat of many colors
Diego Velázquez
List of works by Diego Velázquez


section

ヨセフの衣を受けるヤコブ

List of works by Diego Velázquez Coat of many colors

Prompt: ヨセフの衣を受けるヤコブに関して、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。

Coat of many colors
Diego Velázquez
List of works by Diego Velázquez


section

卵を調理する老女

Old Woman Frying Eggs is a genre painting by Diego Velázquez, produced during his Seville period. The date is not precisely known but is thought to be around the turn of 1618 before his definitive move to Madrid in 1623. The painting is in the Scottish National Gallery in Edinburgh. Velázquez frequently used working-class characters in early paintings like this one, in many cases using his family as models; the old woman here also appears in his Christ in the House of Martha and Mary . There is some dispute about what cooking process is actually depicted with some suggesting not frying but poaching, leading to an alternative title of the painting, Old Woman Cooking Eggs or Old Woman Poaching Eggs. Old Woman Frying Eggs is considered to be one of the strongest of Velázquez's early works. Like others, it shows the influence of chiaroscuro, with a strong light source coming in from the left illuminating the woman, her utensils and the poaching eggs, while throwing the background and the boy standing to her right into deep shadow. Here the chiaroscuro is very intense, so much so that it would be impossible to see the wall at the bottom of the painting but for the basket hanging from it; it simultaneously manages to combine the murky darkness and high contrasts of light and shadow with the use of subtle hues and a palette dominated by ochres and browns. The composition is organised as an oval with the middle figures in the nearest plane, thus drawing in the viewer.The realism is nearly photographic and shows everyday plates, cutlery, pans, pestles, jugs and mortars, capturing the special shine on a glass surface and the light's play on the melon carried by the boy. The boiling pan is particularly well-captured, with its reflections and the whites of the eggs. Velázquez also worked particularly hard on the detail of the two figures' hands.

Prompt: 卵を調理する老女に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Diego Velázquez
Edinburgh
Frying
Madrid
Scottish National Gallery
Seville


section

卵を調理する老女

Old Woman Frying Eggs is a genre painting by Diego Velázquez, produced during his Seville period. The date is not precisely known but is thought to be around the turn of 1618 before his definitive move to Madrid in 1623. The painting is in the Scottish National Gallery in Edinburgh. Velázquez frequently used working-class characters in early paintings like this one, in many cases using his family as models; the old woman here also appears in his Christ in the House of Martha and Mary . There is some dispute about what cooking process is actually depicted with some suggesting not frying but poaching, leading to an alternative title of the painting, Old Woman Cooking Eggs or Old Woman Poaching Eggs. Old Woman Frying Eggs is considered to be one of the strongest of Velázquez's early works. Like others, it shows the influence of chiaroscuro, with a strong light source coming in from the left illuminating the woman, her utensils and the poaching eggs, while throwing the background and the boy standing to her right into deep shadow. Here the chiaroscuro is very intense, so much so that it would be impossible to see the wall at the bottom of the painting but for the basket hanging from it; it simultaneously manages to combine the murky darkness and high contrasts of light and shadow with the use of subtle hues and a palette dominated by ochres and browns. The composition is organised as an oval with the middle figures in the nearest plane, thus drawing in the viewer.The realism is nearly photographic and shows everyday plates, cutlery, pans, pestles, jugs and mortars, capturing the special shine on a glass surface and the light's play on the melon carried by the boy. The boiling pan is particularly well-captured, with its reflections and the whites of the eggs. Velázquez also worked particularly hard on the detail of the two figures' hands.

Prompt: 卵を調理する老女の抽象を説明してください。英語で出力して下さい。

Diego Velázquez
Edinburgh
Frying
Madrid
Scottish National Gallery
Seville


section

卵を調理する老女

Old Woman Frying Eggs is a genre painting by Diego Velázquez, produced during his Seville period. The date is not precisely known but is thought to be around the turn of 1618 before his definitive move to Madrid in 1623. The painting is in the Scottish National Gallery in Edinburgh. Velázquez frequently used working-class characters in early paintings like this one, in many cases using his family as models; the old woman here also appears in his Christ in the House of Martha and Mary . There is some dispute about what cooking process is actually depicted with some suggesting not frying but poaching, leading to an alternative title of the painting, Old Woman Cooking Eggs or Old Woman Poaching Eggs. Old Woman Frying Eggs is considered to be one of the strongest of Velázquez's early works. Like others, it shows the influence of chiaroscuro, with a strong light source coming in from the left illuminating the woman, her utensils and the poaching eggs, while throwing the background and the boy standing to her right into deep shadow. Here the chiaroscuro is very intense, so much so that it would be impossible to see the wall at the bottom of the painting but for the basket hanging from it; it simultaneously manages to combine the murky darkness and high contrasts of light and shadow with the use of subtle hues and a palette dominated by ochres and browns. The composition is organised as an oval with the middle figures in the nearest plane, thus drawing in the viewer.The realism is nearly photographic and shows everyday plates, cutlery, pans, pestles, jugs and mortars, capturing the special shine on a glass surface and the light's play on the melon carried by the boy. The boiling pan is particularly well-captured, with its reflections and the whites of the eggs. Velázquez also worked particularly hard on the detail of the two figures' hands.

Prompt: 卵を調理する老女はどのように抽象を説明していますか？英語で出力して下さい。

Diego Velázquez
Edinburgh
Frying
Madrid
Scottish National Gallery
Seville


section

卵を調理する老女

Old Woman Frying Eggs is a genre painting by Diego Velázquez, produced during his Seville period. The date is not precisely known but is thought to be around the turn of 1618 before his definitive move to Madrid in 1623. The painting is in the Scottish National Gallery in Edinburgh. Velázquez frequently used working-class characters in early paintings like this one, in many cases using his family as models; the old woman here also appears in his Christ in the House of Martha and Mary . There is some dispute about what cooking process is actually depicted with some suggesting not frying but poaching, leading to an alternative title of the painting, Old Woman Cooking Eggs or Old Woman Poaching Eggs. Old Woman Frying Eggs is considered to be one of the strongest of Velázquez's early works. Like others, it shows the influence of chiaroscuro, with a strong light source coming in from the left illuminating the woman, her utensils and the poaching eggs, while throwing the background and the boy standing to her right into deep shadow. Here the chiaroscuro is very intense, so much so that it would be impossible to see the wall at the bottom of the painting but for the basket hanging from it; it simultaneously manages to combine the murky darkness and high contrasts of light and shadow with the use of subtle hues and a palette dominated by ochres and browns. The composition is organised as an oval with the middle figures in the nearest plane, thus drawing in the viewer.The realism is nearly photographic and shows everyday plates, cutlery, pans, pestles, jugs and mortars, capturing the special shine on a glass surface and the light's play on the melon carried by the boy. The boiling pan is particularly well-captured, with its reflections and the whites of the eggs. Velázquez also worked particularly hard on the detail of the two figures' hands.

Prompt: 卵を調理する老女に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Diego Velázquez
Edinburgh
Frying
Madrid
Scottish National Gallery
Seville


section

卵を調理する老女

Prompt: 卵を調理する老女に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

卵を調理する老女

Prompt: 卵を調理する老女の参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

卵を調理する老女

Prompt: 卵を調理する老女はどのように参照を説明していますか？英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

卵を調理する老女

Prompt: 卵を調理する老女に関して、どのように参照が議論されていますか？英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

タロット・ガーデン

The Tarot Garden  is a sculpture garden based on the esoteric tarot, created by the French-American artist Niki de Saint Phalle  in Pescia Fiorentina, località Garavicchio, in the municipality of Capalbio, province of Grosseto, Tuscany, Italy. The park was opened to the public in 1998.Niki de Saint Phalle, inspired by Antoni Gaudí´s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia,  decided to make something similar in design for her monumental sculpture park based on the Tarot. In 1979, she acquired some land on top of an Etruscan ruin in Garavicchio, Tuscany, about  north-west of Rome along the coast. There she built the Giardino dei Tarocchi, containing twenty-two monumental figures representing her idea of the greater Mysteries of the Tarot, constructed of reinforced concrete and covered with mirrors and ceramic mosaic. Some of the larger sculptural figures can be walked through; the artist herself lived inside the sphinx-like Empress for several years during the construction of the garden.

Prompt: タロット・ガーデンに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Antoni Gaudí
Capalbio
Ferdinand Cheval
Italy
Niki de Saint Phalle
Ferdinand Cheval
Pescia Fiorentina
Watts Towers
Tarot
Tuscany
Tuscany
Watts Towers


section

タロット・ガーデン

The Tarot Garden  is a sculpture garden based on the esoteric tarot, created by the French-American artist Niki de Saint Phalle  in Pescia Fiorentina, località Garavicchio, in the municipality of Capalbio, province of Grosseto, Tuscany, Italy. The park was opened to the public in 1998.Niki de Saint Phalle, inspired by Antoni Gaudí´s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia,  decided to make something similar in design for her monumental sculpture park based on the Tarot. In 1979, she acquired some land on top of an Etruscan ruin in Garavicchio, Tuscany, about  north-west of Rome along the coast. There she built the Giardino dei Tarocchi, containing twenty-two monumental figures representing her idea of the greater Mysteries of the Tarot, constructed of reinforced concrete and covered with mirrors and ceramic mosaic. Some of the larger sculptural figures can be walked through; the artist herself lived inside the sphinx-like Empress for several years during the construction of the garden.

Prompt: タロット・ガーデンの抽象を説明してください。英語で出力して下さい。

Antoni Gaudí
Capalbio
Ferdinand Cheval
Italy
Niki de Saint Phalle
Ferdinand Cheval
Pescia Fiorentina
Watts Towers
Tarot
Tuscany
Tuscany
Watts Towers


section

タロット・ガーデン

The Tarot Garden  is a sculpture garden based on the esoteric tarot, created by the French-American artist Niki de Saint Phalle  in Pescia Fiorentina, località Garavicchio, in the municipality of Capalbio, province of Grosseto, Tuscany, Italy. The park was opened to the public in 1998.Niki de Saint Phalle, inspired by Antoni Gaudí´s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia,  decided to make something similar in design for her monumental sculpture park based on the Tarot. In 1979, she acquired some land on top of an Etruscan ruin in Garavicchio, Tuscany, about  north-west of Rome along the coast. There she built the Giardino dei Tarocchi, containing twenty-two monumental figures representing her idea of the greater Mysteries of the Tarot, constructed of reinforced concrete and covered with mirrors and ceramic mosaic. Some of the larger sculptural figures can be walked through; the artist herself lived inside the sphinx-like Empress for several years during the construction of the garden.

Prompt: タロット・ガーデン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。

Antoni Gaudí
Capalbio
Ferdinand Cheval
Italy
Niki de Saint Phalle
Ferdinand Cheval
Pescia Fiorentina
Watts Towers
Tarot
Tuscany
Tuscany
Watts Towers


section

タロット・ガーデン

The Tarot Garden  is a sculpture garden based on the esoteric tarot, created by the French-American artist Niki de Saint Phalle  in Pescia Fiorentina, località Garavicchio, in the municipality of Capalbio, province of Grosseto, Tuscany, Italy. The park was opened to the public in 1998.Niki de Saint Phalle, inspired by Antoni Gaudí´s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia,  decided to make something similar in design for her monumental sculpture park based on the Tarot. In 1979, she acquired some land on top of an Etruscan ruin in Garavicchio, Tuscany, about  north-west of Rome along the coast. There she built the Giardino dei Tarocchi, containing twenty-two monumental figures representing her idea of the greater Mysteries of the Tarot, constructed of reinforced concrete and covered with mirrors and ceramic mosaic. Some of the larger sculptural figures can be walked through; the artist herself lived inside the sphinx-like Empress for several years during the construction of the garden.

Prompt: タロット・ガーデンに関して、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。

Antoni Gaudí
Capalbio
Ferdinand Cheval
Italy
Niki de Saint Phalle
Ferdinand Cheval
Pescia Fiorentina
Watts Towers
Tarot
Tuscany
Tuscany
Watts Towers


section

タロット・ガーデン

Niki de Saint Phalle, Giulio Pietrocharchi: The Tarot Garden: The Tarot Garden. Benteli Zurich 1997, . Niki de Saint Phalle: The Tarot Garden: Giardino Del Tarrochi. Edizioni Charta, Milano 1997, . Carla Schulz Hoffman: Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten. Prestel, Bonn 2008, . Philip Carr-Gomm: Sacred Places. Quercus Publishing, London 2008, . Jill Johnston, Marella Caracciolo Chia, Giulio Pietromarchi: Niki de Saint Phalle and The Tarot Garden. Benteli, Zurich 2010, .

Prompt: タロット・ガーデンに焦点を当てて、その選ばれた出版物を説明してください。英語で出力して下さい。


section

タロット・ガーデン

Niki de Saint Phalle, Giulio Pietrocharchi: The Tarot Garden: The Tarot Garden. Benteli Zurich 1997, . Niki de Saint Phalle: The Tarot Garden: Giardino Del Tarrochi. Edizioni Charta, Milano 1997, . Carla Schulz Hoffman: Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten. Prestel, Bonn 2008, . Philip Carr-Gomm: Sacred Places. Quercus Publishing, London 2008, . Jill Johnston, Marella Caracciolo Chia, Giulio Pietromarchi: Niki de Saint Phalle and The Tarot Garden. Benteli, Zurich 2010, .

Prompt: タロット・ガーデンの選ばれた出版物を説明してください。英語で出力して下さい。


section

タロット・ガーデン

Niki de Saint Phalle, Giulio Pietrocharchi: The Tarot Garden: The Tarot Garden. Benteli Zurich 1997, . Niki de Saint Phalle: The Tarot Garden: Giardino Del Tarrochi. Edizioni Charta, Milano 1997, . Carla Schulz Hoffman: Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten. Prestel, Bonn 2008, . Philip Carr-Gomm: Sacred Places. Quercus Publishing, London 2008, . Jill Johnston, Marella Caracciolo Chia, Giulio Pietromarchi: Niki de Saint Phalle and The Tarot Garden. Benteli, Zurich 2010, .

Prompt: タロット・ガーデンはどのように選ばれた出版物を説明していますか？英語で出力して下さい。


section

タロット・ガーデン

Niki de Saint Phalle, Giulio Pietrocharchi: The Tarot Garden: The Tarot Garden. Benteli Zurich 1997, . Niki de Saint Phalle: The Tarot Garden: Giardino Del Tarrochi. Edizioni Charta, Milano 1997, . Carla Schulz Hoffman: Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten. Prestel, Bonn 2008, . Philip Carr-Gomm: Sacred Places. Quercus Publishing, London 2008, . Jill Johnston, Marella Caracciolo Chia, Giulio Pietromarchi: Niki de Saint Phalle and The Tarot Garden. Benteli, Zurich 2010, .

Prompt: タロット・ガーデンに関して、どのように選ばれた出版物が議論されていますか？英語で出力して下さい。


section

タロット・ガーデン

Category:Tarot in popular cultureCategory:Visionary environmentsCategory:Sculpture gardens, trails and parks in EuropeCategory:Gardens in TuscanyCategory:Arts in Italy

Prompt: タロット・ガーデンに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


section

タロット・ガーデン

Category:Tarot in popular cultureCategory:Visionary environmentsCategory:Sculpture gardens, trails and parks in EuropeCategory:Gardens in TuscanyCategory:Arts in Italy

Prompt: タロット・ガーデンの外部リンクを説明してください。英語で出力して下さい。


section

タロット・ガーデン

Category:Tarot in popular cultureCategory:Visionary environmentsCategory:Sculpture gardens, trails and parks in EuropeCategory:Gardens in TuscanyCategory:Arts in Italy

Prompt: タロット・ガーデンはどのように外部リンクを説明していますか？英語で出力して下さい。


section

タロット・ガーデン

Category:Tarot in popular cultureCategory:Visionary environmentsCategory:Sculpture gardens, trails and parks in EuropeCategory:Gardens in TuscanyCategory:Arts in Italy

Prompt: タロット・ガーデンに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


section

カルトジオ会修道士の肖像

width_imperial= metric_unit=cm imperial_unit=in museum= Metropolitan Museum of Art}}Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.It is regarded as a masterpiece of Early Netherlandish painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

Prompt: カルトジオ会修道士の肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Early Netherlandish painting
Early Netherlandish painting
Jules Bache
Metropolitan Museum of Art
Northeast Philadelphia
Petrus Christus


section

カルトジオ会修道士の肖像

width_imperial= metric_unit=cm imperial_unit=in museum= Metropolitan Museum of Art}}Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.It is regarded as a masterpiece of Early Netherlandish painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

Prompt: カルトジオ会修道士の肖像の抽象を説明してください。英語で出力して下さい。

Early Netherlandish painting
Early Netherlandish painting
Jules Bache
Metropolitan Museum of Art
Northeast Philadelphia
Petrus Christus


section

カルトジオ会修道士の肖像

width_imperial= metric_unit=cm imperial_unit=in museum= Metropolitan Museum of Art}}Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.It is regarded as a masterpiece of Early Netherlandish painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

Prompt: カルトジオ会修道士の肖像はどのように抽象を説明していますか？英語で出力して下さい。

Early Netherlandish painting
Early Netherlandish painting
Jules Bache
Metropolitan Museum of Art
Northeast Philadelphia
Petrus Christus


section

カルトジオ会修道士の肖像

width_imperial= metric_unit=cm imperial_unit=in museum= Metropolitan Museum of Art}}Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.It is regarded as a masterpiece of Early Netherlandish painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

Prompt: カルトジオ会修道士の肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Early Netherlandish painting
Early Netherlandish painting
Jules Bache
Metropolitan Museum of Art
Northeast Philadelphia
Petrus Christus


section

カルトジオ会修道士の肖像

200pxPortrait of a Carthusian featured a halo above the monk's head when it was acquired by the Metropolitan Museum of Art in 1944. However, halos are extremely rare in Early Netherlandish painting and the one in Portrait of a Carthusian had long been an object of speculation. Finally in 1994, in preparation for the Met's exhibition Petrus Christus: Renaissance Master of Bruges, the authenticity of the halo was publicly examined by a panel of Early Netherlandish specialists and determined to be an addition. Since the removal of the halo, the Met has gone on to delete other dubious halos from Christus works, most notably in Portrait of a Goldsmith.

Prompt: カルトジオ会修道士の肖像に焦点を当てて、そのハローアンド1994レストレーションを説明してください。英語で出力して下さい。

Early Netherlandish painting
Early Netherlandish painting
Metropolitan Museum of Art
Petrus Christus


section

カルトジオ会修道士の肖像

200pxPortrait of a Carthusian featured a halo above the monk's head when it was acquired by the Metropolitan Museum of Art in 1944. However, halos are extremely rare in Early Netherlandish painting and the one in Portrait of a Carthusian had long been an object of speculation. Finally in 1994, in preparation for the Met's exhibition Petrus Christus: Renaissance Master of Bruges, the authenticity of the halo was publicly examined by a panel of Early Netherlandish specialists and determined to be an addition. Since the removal of the halo, the Met has gone on to delete other dubious halos from Christus works, most notably in Portrait of a Goldsmith.

Prompt: カルトジオ会修道士の肖像のハローアンド1994レストレーションを説明してください。英語で出力して下さい。

Early Netherlandish painting
Early Netherlandish painting
Metropolitan Museum of Art
Petrus Christus


section

カルトジオ会修道士の肖像

200pxPortrait of a Carthusian featured a halo above the monk's head when it was acquired by the Metropolitan Museum of Art in 1944. However, halos are extremely rare in Early Netherlandish painting and the one in Portrait of a Carthusian had long been an object of speculation. Finally in 1994, in preparation for the Met's exhibition Petrus Christus: Renaissance Master of Bruges, the authenticity of the halo was publicly examined by a panel of Early Netherlandish specialists and determined to be an addition. Since the removal of the halo, the Met has gone on to delete other dubious halos from Christus works, most notably in Portrait of a Goldsmith.

Prompt: カルトジオ会修道士の肖像はどのようにハローアンド1994レストレーションを説明していますか？英語で出力して下さい。

Early Netherlandish painting
Early Netherlandish painting
Metropolitan Museum of Art
Petrus Christus


section

カルトジオ会修道士の肖像

200pxPortrait of a Carthusian featured a halo above the monk's head when it was acquired by the Metropolitan Museum of Art in 1944. However, halos are extremely rare in Early Netherlandish painting and the one in Portrait of a Carthusian had long been an object of speculation. Finally in 1994, in preparation for the Met's exhibition Petrus Christus: Renaissance Master of Bruges, the authenticity of the halo was publicly examined by a panel of Early Netherlandish specialists and determined to be an addition. Since the removal of the halo, the Met has gone on to delete other dubious halos from Christus works, most notably in Portrait of a Goldsmith.

Prompt: カルトジオ会修道士の肖像に関して、どのようにハローアンド1994レストレーションが議論されていますか？英語で出力して下さい。

Early Netherlandish painting
Early Netherlandish painting
Metropolitan Museum of Art
Petrus Christus


section

カルトジオ会修道士の肖像

</ref> }}Ainsworth, Maryan W., ed.  Ainsworth, Maryan W., ed.  Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach.  New York: Metropolitan Museum of Art, 1995.

Prompt: カルトジオ会修道士の肖像に焦点を当てて、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。

Metropolitan Museum of Art
Petrus Christus


section

カルトジオ会修道士の肖像

</ref> }}Ainsworth, Maryan W., ed.  Ainsworth, Maryan W., ed.  Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach.  New York: Metropolitan Museum of Art, 1995.

Prompt: カルトジオ会修道士の肖像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。

Metropolitan Museum of Art
Petrus Christus


section

カルトジオ会修道士の肖像

</ref> }}Ainsworth, Maryan W., ed.  Ainsworth, Maryan W., ed.  Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach.  New York: Metropolitan Museum of Art, 1995.

Prompt: カルトジオ会修道士の肖像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。

Metropolitan Museum of Art
Petrus Christus


section

カルトジオ会修道士の肖像

</ref> }}Ainsworth, Maryan W., ed.  Ainsworth, Maryan W., ed.  Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach.  New York: Metropolitan Museum of Art, 1995.

Prompt: カルトジオ会修道士の肖像に関して、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。

Metropolitan Museum of Art
Petrus Christus


subsection

カルトジオ会修道士の肖像

Portrait of a Carthusian depicts a three-quarter portrait of anonymous Carthusian monk captured in mid-turn, gazing directly at the viewer. Because the monk's body is turned to his left, he must look over his right shoulder to gaze at the viewer, creating a somewhat cumbersome diagonal pose. Petrus Christus balances this out by shifting the axis of the monk's face to the right, placing him just off center. By further modeling the monk's right shoulder more than his left shoulder, Christus draws one side of the body closer to the viewer, adding more depth to the work.

Prompt: カルトジオ会修道士の肖像の文脈で、僧侶とヌルを説明してください。英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

Portrait of a Carthusian depicts a three-quarter portrait of anonymous Carthusian monk captured in mid-turn, gazing directly at the viewer. Because the monk's body is turned to his left, he must look over his right shoulder to gaze at the viewer, creating a somewhat cumbersome diagonal pose. Petrus Christus balances this out by shifting the axis of the monk's face to the right, placing him just off center. By further modeling the monk's right shoulder more than his left shoulder, Christus draws one side of the body closer to the viewer, adding more depth to the work.

Prompt: カルトジオ会修道士の肖像のヌルに関する僧侶を説明してください。英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

Portrait of a Carthusian depicts a three-quarter portrait of anonymous Carthusian monk captured in mid-turn, gazing directly at the viewer. Because the monk's body is turned to his left, he must look over his right shoulder to gaze at the viewer, creating a somewhat cumbersome diagonal pose. Petrus Christus balances this out by shifting the axis of the monk's face to the right, placing him just off center. By further modeling the monk's right shoulder more than his left shoulder, Christus draws one side of the body closer to the viewer, adding more depth to the work.

Prompt: カルトジオ会修道士の肖像では、どのようにヌルの僧侶が説明されていますか？英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

Portrait of a Carthusian depicts a three-quarter portrait of anonymous Carthusian monk captured in mid-turn, gazing directly at the viewer. Because the monk's body is turned to his left, he must look over his right shoulder to gaze at the viewer, creating a somewhat cumbersome diagonal pose. Petrus Christus balances this out by shifting the axis of the monk's face to the right, placing him just off center. By further modeling the monk's right shoulder more than his left shoulder, Christus draws one side of the body closer to the viewer, adding more depth to the work.

Prompt: カルトジオ会修道士の肖像のヌルにおける僧侶の特徴を説明してください。英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

The lighting scheme employed by Petrus Christus is also noteworthy. The Monk is bathed in intense light, setting his figure dramatically against the space that he occupies. While this strong, raking light is typical of contemporaries like Jan van Eyck, Christus’ addition of a second, opposing lighting source behind the monk marks this portrait as distinctive. The light on the left seems to be a reflection from within the room, yet the light bathing the monk seems to be coming from an external source, perhaps an unseen window. The result is that light comes from both in and outside the pictorial space, with the monk  being the meeting point of the two. The monk is therefore framed by a two-source lighting structure, allowing Christus to employ a much fuller and richer spectrum of colors and shading than a single-source lighting structure would. This complex lighting scheme is the reason Portrait of a Carthusian appears fully 3-dimensional and realistic.

Prompt: カルトジオ会修道士の肖像の文脈で、スペースと照明とヌルを説明してください。英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

The lighting scheme employed by Petrus Christus is also noteworthy. The Monk is bathed in intense light, setting his figure dramatically against the space that he occupies. While this strong, raking light is typical of contemporaries like Jan van Eyck, Christus’ addition of a second, opposing lighting source behind the monk marks this portrait as distinctive. The light on the left seems to be a reflection from within the room, yet the light bathing the monk seems to be coming from an external source, perhaps an unseen window. The result is that light comes from both in and outside the pictorial space, with the monk  being the meeting point of the two. The monk is therefore framed by a two-source lighting structure, allowing Christus to employ a much fuller and richer spectrum of colors and shading than a single-source lighting structure would. This complex lighting scheme is the reason Portrait of a Carthusian appears fully 3-dimensional and realistic.

Prompt: カルトジオ会修道士の肖像のヌルに関するスペースと照明を説明してください。英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

The lighting scheme employed by Petrus Christus is also noteworthy. The Monk is bathed in intense light, setting his figure dramatically against the space that he occupies. While this strong, raking light is typical of contemporaries like Jan van Eyck, Christus’ addition of a second, opposing lighting source behind the monk marks this portrait as distinctive. The light on the left seems to be a reflection from within the room, yet the light bathing the monk seems to be coming from an external source, perhaps an unseen window. The result is that light comes from both in and outside the pictorial space, with the monk  being the meeting point of the two. The monk is therefore framed by a two-source lighting structure, allowing Christus to employ a much fuller and richer spectrum of colors and shading than a single-source lighting structure would. This complex lighting scheme is the reason Portrait of a Carthusian appears fully 3-dimensional and realistic.

Prompt: カルトジオ会修道士の肖像では、どのようにヌルのスペースと照明が説明されていますか？英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

The lighting scheme employed by Petrus Christus is also noteworthy. The Monk is bathed in intense light, setting his figure dramatically against the space that he occupies. While this strong, raking light is typical of contemporaries like Jan van Eyck, Christus’ addition of a second, opposing lighting source behind the monk marks this portrait as distinctive. The light on the left seems to be a reflection from within the room, yet the light bathing the monk seems to be coming from an external source, perhaps an unseen window. The result is that light comes from both in and outside the pictorial space, with the monk  being the meeting point of the two. The monk is therefore framed by a two-source lighting structure, allowing Christus to employ a much fuller and richer spectrum of colors and shading than a single-source lighting structure would. This complex lighting scheme is the reason Portrait of a Carthusian appears fully 3-dimensional and realistic.

Prompt: カルトジオ会修道士の肖像のヌルにおけるスペースと照明の特徴を説明してください。英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

Portrait of a Carthusian sports a trompe-l'œil fly on the center of its trompe-l'œil lower frame. The addition of trompe-l'œil flies to works of art is believed to have begun in the 15th century, right as Christus became active. Art Historians are generally split between two different interpretations of their use. Many art historians believe the fly to hold religious symbolism, functions as connotations of sin, corruption, mortality, etc. Art historians believe that a fly was used to evoke such images in connection with Satan’s moniker Beelzebub—the Lord of the Flies. More recently, art historians are beginning to view the inclusion of trompe-l'œil flies as a professional calling card, with art historian Felix Thülemann describing it as “a selfconscious representation of superior painterly prowess. It is believed that this is why the fly generally appears next to the artist’s signature

Prompt: カルトジオ会修道士の肖像の文脈で、ハエ、トロンプ・ルイユとヌルを説明してください。英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

Portrait of a Carthusian sports a trompe-l'œil fly on the center of its trompe-l'œil lower frame. The addition of trompe-l'œil flies to works of art is believed to have begun in the 15th century, right as Christus became active. Art Historians are generally split between two different interpretations of their use. Many art historians believe the fly to hold religious symbolism, functions as connotations of sin, corruption, mortality, etc. Art historians believe that a fly was used to evoke such images in connection with Satan’s moniker Beelzebub—the Lord of the Flies. More recently, art historians are beginning to view the inclusion of trompe-l'œil flies as a professional calling card, with art historian Felix Thülemann describing it as “a selfconscious representation of superior painterly prowess. It is believed that this is why the fly generally appears next to the artist’s signature

Prompt: カルトジオ会修道士の肖像のヌルに関するハエ、トロンプ・ルイユを説明してください。英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

Portrait of a Carthusian sports a trompe-l'œil fly on the center of its trompe-l'œil lower frame. The addition of trompe-l'œil flies to works of art is believed to have begun in the 15th century, right as Christus became active. Art Historians are generally split between two different interpretations of their use. Many art historians believe the fly to hold religious symbolism, functions as connotations of sin, corruption, mortality, etc. Art historians believe that a fly was used to evoke such images in connection with Satan’s moniker Beelzebub—the Lord of the Flies. More recently, art historians are beginning to view the inclusion of trompe-l'œil flies as a professional calling card, with art historian Felix Thülemann describing it as “a selfconscious representation of superior painterly prowess. It is believed that this is why the fly generally appears next to the artist’s signature

Prompt: カルトジオ会修道士の肖像では、どのようにヌルのハエ、トロンプ・ルイユが説明されていますか？英語で出力して下さい。


subsection

カルトジオ会修道士の肖像

Portrait of a Carthusian sports a trompe-l'œil fly on the center of its trompe-l'œil lower frame. The addition of trompe-l'œil flies to works of art is believed to have begun in the 15th century, right as Christus became active. Art Historians are generally split between two different interpretations of their use. Many art historians believe the fly to hold religious symbolism, functions as connotations of sin, corruption, mortality, etc. Art historians believe that a fly was used to evoke such images in connection with Satan’s moniker Beelzebub—the Lord of the Flies. More recently, art historians are beginning to view the inclusion of trompe-l'œil flies as a professional calling card, with art historian Felix Thülemann describing it as “a selfconscious representation of superior painterly prowess. It is believed that this is why the fly generally appears next to the artist’s signature

Prompt: カルトジオ会修道士の肖像のヌルにおけるハエ、トロンプ・ルイユの特徴を説明してください。英語で出力して下さい。


section

思春期

width_imperial= metric_unit=cm imperial_unit=in city=Oslo museum=National Gallery}}Puberty  is an 1894–95 painting created by Norwegian artist Edvard Munch. Puberty has associations with both symbolism and expressionism, the former a movement from which Munch emerged, and the latter a movement in which Munch was pivotal. It is part of an informal series or cycle of paintings, prints, and images known as The Frieze of Life, that Munch created in 1890s, although he often revisited and explored themes and images from the series throughout his career.  The painting was also done as a lithograph and an etching by Munch.

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


section

思春期

width_imperial= metric_unit=cm imperial_unit=in city=Oslo museum=National Gallery}}Puberty  is an 1894–95 painting created by Norwegian artist Edvard Munch. Puberty has associations with both symbolism and expressionism, the former a movement from which Munch emerged, and the latter a movement in which Munch was pivotal. It is part of an informal series or cycle of paintings, prints, and images known as The Frieze of Life, that Munch created in 1890s, although he often revisited and explored themes and images from the series throughout his career.  The painting was also done as a lithograph and an etching by Munch.

Prompt: 思春期の抽象を説明してください。英語で出力して下さい。


section

思春期

width_imperial= metric_unit=cm imperial_unit=in city=Oslo museum=National Gallery}}Puberty  is an 1894–95 painting created by Norwegian artist Edvard Munch. Puberty has associations with both symbolism and expressionism, the former a movement from which Munch emerged, and the latter a movement in which Munch was pivotal. It is part of an informal series or cycle of paintings, prints, and images known as The Frieze of Life, that Munch created in 1890s, although he often revisited and explored themes and images from the series throughout his career.  The painting was also done as a lithograph and an etching by Munch.

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


section

思春期

width_imperial= metric_unit=cm imperial_unit=in city=Oslo museum=National Gallery}}Puberty  is an 1894–95 painting created by Norwegian artist Edvard Munch. Puberty has associations with both symbolism and expressionism, the former a movement from which Munch emerged, and the latter a movement in which Munch was pivotal. It is part of an informal series or cycle of paintings, prints, and images known as The Frieze of Life, that Munch created in 1890s, although he often revisited and explored themes and images from the series throughout his career.  The painting was also done as a lithograph and an etching by Munch.

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


section

思春期

Whenever he was questioned on the subject, Munch maintained he had not been influenced by the work of the Belgium artist and illustrator Félicien Rops, specifically the etching Le Plus Bel Amour De Don Juan [Don Juan's Greatest Love], published as an illustration in the second edition of Jules Amédée Barbey d’Aurevilly's book Les Diaboliques in 1882 .) However, art critics and historians have consistently noted the similarities; beginning with Przybyszewski  the first publication ever devoted to Munch.  Munch claimed the ca. 1894-95 painting was a copy of an earlier painting he first made in 1885 or 1886  Munch allowed this sexual depression to seep into Puberty and like other works he created later this piece was created with symbolism reflecting feelings which continued growing increasingly within the next ten years. This state of sexual depression is one that not only his circle of friends shared with him, but that the psychological scholars had also been curious about having just written the first research on the stages and occurrences of puberty in young adults.

Prompt: 思春期に焦点を当てて、その創世記を説明してください。英語で出力して下さい。


section

思春期

Whenever he was questioned on the subject, Munch maintained he had not been influenced by the work of the Belgium artist and illustrator Félicien Rops, specifically the etching Le Plus Bel Amour De Don Juan [Don Juan's Greatest Love], published as an illustration in the second edition of Jules Amédée Barbey d’Aurevilly's book Les Diaboliques in 1882 .) However, art critics and historians have consistently noted the similarities; beginning with Przybyszewski  the first publication ever devoted to Munch.  Munch claimed the ca. 1894-95 painting was a copy of an earlier painting he first made in 1885 or 1886  Munch allowed this sexual depression to seep into Puberty and like other works he created later this piece was created with symbolism reflecting feelings which continued growing increasingly within the next ten years. This state of sexual depression is one that not only his circle of friends shared with him, but that the psychological scholars had also been curious about having just written the first research on the stages and occurrences of puberty in young adults.

Prompt: 思春期の創世記を説明してください。英語で出力して下さい。


section

思春期

Whenever he was questioned on the subject, Munch maintained he had not been influenced by the work of the Belgium artist and illustrator Félicien Rops, specifically the etching Le Plus Bel Amour De Don Juan [Don Juan's Greatest Love], published as an illustration in the second edition of Jules Amédée Barbey d’Aurevilly's book Les Diaboliques in 1882 .) However, art critics and historians have consistently noted the similarities; beginning with Przybyszewski  the first publication ever devoted to Munch.  Munch claimed the ca. 1894-95 painting was a copy of an earlier painting he first made in 1885 or 1886  Munch allowed this sexual depression to seep into Puberty and like other works he created later this piece was created with symbolism reflecting feelings which continued growing increasingly within the next ten years. This state of sexual depression is one that not only his circle of friends shared with him, but that the psychological scholars had also been curious about having just written the first research on the stages and occurrences of puberty in young adults.

Prompt: 思春期はどのように創世記を説明していますか？英語で出力して下さい。


section

思春期

Whenever he was questioned on the subject, Munch maintained he had not been influenced by the work of the Belgium artist and illustrator Félicien Rops, specifically the etching Le Plus Bel Amour De Don Juan [Don Juan's Greatest Love], published as an illustration in the second edition of Jules Amédée Barbey d’Aurevilly's book Les Diaboliques in 1882 .) However, art critics and historians have consistently noted the similarities; beginning with Przybyszewski  the first publication ever devoted to Munch.  Munch claimed the ca. 1894-95 painting was a copy of an earlier painting he first made in 1885 or 1886  Munch allowed this sexual depression to seep into Puberty and like other works he created later this piece was created with symbolism reflecting feelings which continued growing increasingly within the next ten years. This state of sexual depression is one that not only his circle of friends shared with him, but that the psychological scholars had also been curious about having just written the first research on the stages and occurrences of puberty in young adults.

Prompt: 思春期に関して、どのように創世記が議論されていますか？英語で出力して下さい。


section

思春期

Puberty was a spark towards the progress of his personal emotional journey in how he portrayed his feelings in his artwork.

Prompt: 思春期に焦点を当てて、その芸術的成長を説明してください。英語で出力して下さい。


section

思春期

Puberty was a spark towards the progress of his personal emotional journey in how he portrayed his feelings in his artwork.

Prompt: 思春期の芸術的成長を説明してください。英語で出力して下さい。


section

思春期

Puberty was a spark towards the progress of his personal emotional journey in how he portrayed his feelings in his artwork.

Prompt: 思春期はどのように芸術的成長を説明していますか？英語で出力して下さい。


section

思春期

Puberty was a spark towards the progress of his personal emotional journey in how he portrayed his feelings in his artwork.

Prompt: 思春期に関して、どのように芸術的成長が議論されていますか？英語で出力して下さい。


section

思春期

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

Edvard Munch
List of paintings by Edvard Munch


section

思春期

Prompt: 思春期の参照を説明してください。英語で出力して下さい。

Edvard Munch
List of paintings by Edvard Munch


section

思春期

Prompt: 思春期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。

Edvard Munch
List of paintings by Edvard Munch


section

思春期

Prompt: 思春期に関して、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。

Edvard Munch
List of paintings by Edvard Munch


section

思春期

Frederick B. Deknatel . Edvard Munch. Chanticleer Press ASIN: B0007DVV12. 171 Shelley Wood Cordulack, Edvard Munch  Edvard Munch and the physiology of symbolism. Fairleigh Dickinson Univ Press. ,  Eggum, A., & Munch, E. . Edvard Munch: paintings, sketches, and studies. New York: C.N. Potter.

Prompt: 思春期に焦点を当てて、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

思春期

Frederick B. Deknatel . Edvard Munch. Chanticleer Press ASIN: B0007DVV12. 171 Shelley Wood Cordulack, Edvard Munch  Edvard Munch and the physiology of symbolism. Fairleigh Dickinson Univ Press. ,  Eggum, A., & Munch, E. . Edvard Munch: paintings, sketches, and studies. New York: C.N. Potter.

Prompt: 思春期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

思春期

Frederick B. Deknatel . Edvard Munch. Chanticleer Press ASIN: B0007DVV12. 171 Shelley Wood Cordulack, Edvard Munch  Edvard Munch and the physiology of symbolism. Fairleigh Dickinson Univ Press. ,  Eggum, A., & Munch, E. . Edvard Munch: paintings, sketches, and studies. New York: C.N. Potter.

Prompt: 思春期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

思春期

Frederick B. Deknatel . Edvard Munch. Chanticleer Press ASIN: B0007DVV12. 171 Shelley Wood Cordulack, Edvard Munch  Edvard Munch and the physiology of symbolism. Fairleigh Dickinson Univ Press. ,  Eggum, A., & Munch, E. . Edvard Munch: paintings, sketches, and studies. New York: C.N. Potter.

Prompt: 思春期に関して、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

思春期

Munch's painting Puberty depicts a young naked girl sitting on the edge of a bed. Her legs are pressed together. She holds her hands in front of her body; one lies between her knees, while the other rests on her right thigh. She stares straight ahead with eyes wide open. Her mouth is closed and her long hair hangs down over the shoulders. The light enters from the left, and behind her a dark, ominous shadow is visible. The motif is often regarded as a symbol of anxiety and fear, a young girl's awakening sexuality and the changes a young person experiences physically and psychologically on the path towards adulthood.Munch gave a number of titles to various versions of the motif, originally The Young Model, later Puberty, and still later At Night. "The image can thus sustain various interpretations, from a view of a model by an artist to an evocation of nocturnal sensual pleasures and terrors."

Prompt: 思春期の文脈で、主題と創世記を説明してください。英語で出力して下さい。


subsection

思春期

Munch's painting Puberty depicts a young naked girl sitting on the edge of a bed. Her legs are pressed together. She holds her hands in front of her body; one lies between her knees, while the other rests on her right thigh. She stares straight ahead with eyes wide open. Her mouth is closed and her long hair hangs down over the shoulders. The light enters from the left, and behind her a dark, ominous shadow is visible. The motif is often regarded as a symbol of anxiety and fear, a young girl's awakening sexuality and the changes a young person experiences physically and psychologically on the path towards adulthood.Munch gave a number of titles to various versions of the motif, originally The Young Model, later Puberty, and still later At Night. "The image can thus sustain various interpretations, from a view of a model by an artist to an evocation of nocturnal sensual pleasures and terrors."

Prompt: 思春期の創世記に関する主題を説明してください。英語で出力して下さい。


subsection

思春期

Munch's painting Puberty depicts a young naked girl sitting on the edge of a bed. Her legs are pressed together. She holds her hands in front of her body; one lies between her knees, while the other rests on her right thigh. She stares straight ahead with eyes wide open. Her mouth is closed and her long hair hangs down over the shoulders. The light enters from the left, and behind her a dark, ominous shadow is visible. The motif is often regarded as a symbol of anxiety and fear, a young girl's awakening sexuality and the changes a young person experiences physically and psychologically on the path towards adulthood.Munch gave a number of titles to various versions of the motif, originally The Young Model, later Puberty, and still later At Night. "The image can thus sustain various interpretations, from a view of a model by an artist to an evocation of nocturnal sensual pleasures and terrors."

Prompt: 思春期では、どのように創世記の主題が説明されていますか？英語で出力して下さい。


subsection

思春期

Munch's painting Puberty depicts a young naked girl sitting on the edge of a bed. Her legs are pressed together. She holds her hands in front of her body; one lies between her knees, while the other rests on her right thigh. She stares straight ahead with eyes wide open. Her mouth is closed and her long hair hangs down over the shoulders. The light enters from the left, and behind her a dark, ominous shadow is visible. The motif is often regarded as a symbol of anxiety and fear, a young girl's awakening sexuality and the changes a young person experiences physically and psychologically on the path towards adulthood.Munch gave a number of titles to various versions of the motif, originally The Young Model, later Puberty, and still later At Night. "The image can thus sustain various interpretations, from a view of a model by an artist to an evocation of nocturnal sensual pleasures and terrors."

Prompt: 思春期の創世記における主題の特徴を説明してください。英語で出力して下さい。


subsubsection

思春期

Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.

Prompt: 思春期の創世記に焦点を当てて、創世記についての他人のコメントを説明してください。英語で出力して下さい。

Arne Eggum
Edvard Munch
Félicien Rops
Puberty


subsubsection

思春期

Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.

Prompt: 思春期の創世記の創世記に関する他人のコメントを説明してください。英語で出力して下さい。

Arne Eggum
Edvard Munch
Félicien Rops
Puberty


subsubsection

思春期

Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.

Prompt: 思春期に関して、創世記の創世記は他人のコメントをどのように取り入れていますか？英語で出力して下さい。

Arne Eggum
Edvard Munch
Félicien Rops
Puberty


subsubsection

思春期

Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.

Prompt: 思春期の創世記について見たとき、その創世記の他人のコメントをどのように議論しますか？英語で出力して下さい。

Arne Eggum
Edvard Munch
Félicien Rops
Puberty


subsection

思春期

Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.

Prompt: 思春期の文脈で、他人のコメントと主題を説明してください。英語で出力して下さい。


subsection

思春期

Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.

Prompt: 思春期の主題に関する他人のコメントを説明してください。英語で出力して下さい。


subsection

思春期

Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.

Prompt: 思春期では、どのように主題の他人のコメントが説明されていますか？英語で出力して下さい。


subsection

思春期

Arne Eggum has stated in commentary published by The Masterworks of Edvard Munch regarding Munch's Puberty that the images were so similar, Munch found it necessary to claim he did not wish to replicate Félicien Rops' 1886 Le Plus Bel Amour De Don Juan. [Although Eggum was in error; the 2nd ed. of Les Diaboliques with Rops etching, was published in 1882, not 1886].Munch claimed the painting is a duplicate of one that had been earlier destroyed in a fire in 1885 or 1886, reiterating the confusion of the original idea in which Munch was inspired to create Puberty.

Prompt: 思春期の主題における他人のコメントの特徴を説明してください。英語で出力して下さい。


section

奴隷を解放する聖マルコ (ティントレット)

The Miracle of the Slave  is a painting completed in 1548 by the Italian Renaissance artist Jacopo Tintoretto. Originally commissioned for the Scuola Grande di San Marco, a confraternity in the city of Venice, the work has been held in the Gallerie dell'Accademia since 1815.The painting portrays Saint Mark, patron saint of Venice, performing a posthumous miracle of saving a slave from torture. Drawn from hagiographic sources on the saint’s life, like Jacobus de Voragine's Golden Legend and Jacopo Sansovino's bronze reliefs, Saint Mark appears at the top of the image after being summoned by the slave, destroying the tools used in his torture and stunning the crowd.Miracle of the Slave has been described as Tintoretto’s public consecration in Venice, and has classic components of the Venetian school of art along with themes that would become prevalent throughout the artist's career.

Prompt: 奴隷を解放する聖マルコ (ティントレット)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。

Gallerie dell'Accademia
Jacobus de Voragine
Jacopo Sansovino
Scuola Grande di San Marco
Tintoretto
Venice


section

奴隷を解放する聖マルコ (ティントレット)

The Miracle of the Slave  is a painting completed in 1548 by the Italian Renaissance artist Jacopo Tintoretto. Originally commissioned for the Scuola Grande di San Marco, a confraternity in the city of Venice, the work has been held in the Gallerie dell'Accademia since 1815.The painting portrays Saint Mark, patron saint of Venice, performing a posthumous miracle of saving a slave from torture. Drawn from hagiographic sources on the saint’s life, like Jacobus de Voragine's Golden Legend and Jacopo Sansovino's bronze reliefs, Saint Mark appears at the top of the image after being summoned by the slave, destroying the tools used in his torture and stunning the crowd.Miracle of the Slave has been described as Tintoretto’s public consecration in Venice, and has classic components of the Venetian school of art along with themes that would become prevalent throughout the artist's career.

Prompt: 奴隷を解放する聖マルコ (ティントレット)の抽象を説明してください。英語で出力して下さい。

Gallerie dell'Accademia
Jacobus de Voragine
Jacopo Sansovino
Scuola Grande di San Marco
Tintoretto
Venice


section

奴隷を解放する聖マルコ (ティントレット)

The Miracle of the Slave  is a painting completed in 1548 by the Italian Renaissance artist Jacopo Tintoretto. Originally commissioned for the Scuola Grande di San Marco, a confraternity in the city of Venice, the work has been held in the Gallerie dell'Accademia since 1815.The painting portrays Saint Mark, patron saint of Venice, performing a posthumous miracle of saving a slave from torture. Drawn from hagiographic sources on the saint’s life, like Jacobus de Voragine's Golden Legend and Jacopo Sansovino's bronze reliefs, Saint Mark appears at the top of the image after being summoned by the slave, destroying the tools used in his torture and stunning the crowd.Miracle of the Slave has been described as Tintoretto’s public consecration in Venice, and has classic components of the Venetian school of art along with themes that would become prevalent throughout the artist's career.

Prompt: 奴隷を解放する聖マルコ (ティントレット)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。

Gallerie dell'Accademia
Jacobus de Voragine
Jacopo Sansovino
Scuola Grande di San Marco
Tintoretto
Venice


section

奴隷を解放する聖マルコ (ティントレット)

The Miracle of the Slave  is a painting completed in 1548 by the Italian Renaissance artist Jacopo Tintoretto. Originally commissioned for the Scuola Grande di San Marco, a confraternity in the city of Venice, the work has been held in the Gallerie dell'Accademia since 1815.The painting portrays Saint Mark, patron saint of Venice, performing a posthumous miracle of saving a slave from torture. Drawn from hagiographic sources on the saint’s life, like Jacobus de Voragine's Golden Legend and Jacopo Sansovino's bronze reliefs, Saint Mark appears at the top of the image after being summoned by the slave, destroying the tools used in his torture and stunning the crowd.Miracle of the Slave has been described as Tintoretto’s public consecration in Venice, and has classic components of the Venetian school of art along with themes that would become prevalent throughout the artist's career.

Prompt: 奴隷を解放する聖マルコ (ティントレット)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。

Gallerie dell'Accademia
Jacobus de Voragine
Jacopo Sansovino
Scuola Grande di San Marco
Tintoretto
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Miracle of the Slave was commissioned by the charitable civic organization of the Scuola Grande di San Marco to hang opposite the altar within the building. The work hung in the Scuola until seized by the French in 1797. It was then returned to Venice in its current location at the Gallerie dell'Accademia in 1815.The image tells the hagiography of a slave who lived long after the life of St. Mark, using fellow Venetian artist Jacopo Sansovino's bronze relief created for the pulpit in St. Mark's Basilica as inspiration. Prior to the events shown in the picture, the slave wants to visit the tomb of the patron saint of Venice, but his master forbids his visit. The slave makes the pilgrimage against his master's will, and devotes his body to St. Mark upon reaching the tomb. The painting shows the slave's arrival back to his master's residence, when his master punishes him. The master, seated at the throne on the right, calls for the slave's eyes to be gouged out, legs to be broken, and mouth to be shattered. However, the instruments of torture continue breaking next to slave as he calls for St. Mark, who appears at the top of the composition. Stunned, the crowd on the left side of the picture is convinced of a miracle.Miracle of the Slave is a classic example of a work from the Venetian school. The piece is daring in its use of color to organize its composition. In particular, the juxtaposition of depth created by the vibrant pink of the garb of St. Mark contrasted with brilliant white turban below him creates a sense of depth that makes the figure of the saint stand out in the air.

Prompt: 奴隷を解放する聖マルコ (ティントレット)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。

Gallerie dell'Accademia
Jacopo Sansovino
Scuola Grande di San Marco
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Miracle of the Slave was commissioned by the charitable civic organization of the Scuola Grande di San Marco to hang opposite the altar within the building. The work hung in the Scuola until seized by the French in 1797. It was then returned to Venice in its current location at the Gallerie dell'Accademia in 1815.The image tells the hagiography of a slave who lived long after the life of St. Mark, using fellow Venetian artist Jacopo Sansovino's bronze relief created for the pulpit in St. Mark's Basilica as inspiration. Prior to the events shown in the picture, the slave wants to visit the tomb of the patron saint of Venice, but his master forbids his visit. The slave makes the pilgrimage against his master's will, and devotes his body to St. Mark upon reaching the tomb. The painting shows the slave's arrival back to his master's residence, when his master punishes him. The master, seated at the throne on the right, calls for the slave's eyes to be gouged out, legs to be broken, and mouth to be shattered. However, the instruments of torture continue breaking next to slave as he calls for St. Mark, who appears at the top of the composition. Stunned, the crowd on the left side of the picture is convinced of a miracle.Miracle of the Slave is a classic example of a work from the Venetian school. The piece is daring in its use of color to organize its composition. In particular, the juxtaposition of depth created by the vibrant pink of the garb of St. Mark contrasted with brilliant white turban below him creates a sense of depth that makes the figure of the saint stand out in the air.

Prompt: 奴隷を解放する聖マルコ (ティントレット)の説明を説明してください。英語で出力して下さい。

Gallerie dell'Accademia
Jacopo Sansovino
Scuola Grande di San Marco
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Miracle of the Slave was commissioned by the charitable civic organization of the Scuola Grande di San Marco to hang opposite the altar within the building. The work hung in the Scuola until seized by the French in 1797. It was then returned to Venice in its current location at the Gallerie dell'Accademia in 1815.The image tells the hagiography of a slave who lived long after the life of St. Mark, using fellow Venetian artist Jacopo Sansovino's bronze relief created for the pulpit in St. Mark's Basilica as inspiration. Prior to the events shown in the picture, the slave wants to visit the tomb of the patron saint of Venice, but his master forbids his visit. The slave makes the pilgrimage against his master's will, and devotes his body to St. Mark upon reaching the tomb. The painting shows the slave's arrival back to his master's residence, when his master punishes him. The master, seated at the throne on the right, calls for the slave's eyes to be gouged out, legs to be broken, and mouth to be shattered. However, the instruments of torture continue breaking next to slave as he calls for St. Mark, who appears at the top of the composition. Stunned, the crowd on the left side of the picture is convinced of a miracle.Miracle of the Slave is a classic example of a work from the Venetian school. The piece is daring in its use of color to organize its composition. In particular, the juxtaposition of depth created by the vibrant pink of the garb of St. Mark contrasted with brilliant white turban below him creates a sense of depth that makes the figure of the saint stand out in the air.

Prompt: 奴隷を解放する聖マルコ (ティントレット)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。

Gallerie dell'Accademia
Jacopo Sansovino
Scuola Grande di San Marco
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Miracle of the Slave was commissioned by the charitable civic organization of the Scuola Grande di San Marco to hang opposite the altar within the building. The work hung in the Scuola until seized by the French in 1797. It was then returned to Venice in its current location at the Gallerie dell'Accademia in 1815.The image tells the hagiography of a slave who lived long after the life of St. Mark, using fellow Venetian artist Jacopo Sansovino's bronze relief created for the pulpit in St. Mark's Basilica as inspiration. Prior to the events shown in the picture, the slave wants to visit the tomb of the patron saint of Venice, but his master forbids his visit. The slave makes the pilgrimage against his master's will, and devotes his body to St. Mark upon reaching the tomb. The painting shows the slave's arrival back to his master's residence, when his master punishes him. The master, seated at the throne on the right, calls for the slave's eyes to be gouged out, legs to be broken, and mouth to be shattered. However, the instruments of torture continue breaking next to slave as he calls for St. Mark, who appears at the top of the composition. Stunned, the crowd on the left side of the picture is convinced of a miracle.Miracle of the Slave is a classic example of a work from the Venetian school. The piece is daring in its use of color to organize its composition. In particular, the juxtaposition of depth created by the vibrant pink of the garb of St. Mark contrasted with brilliant white turban below him creates a sense of depth that makes the figure of the saint stand out in the air.

Prompt: 奴隷を解放する聖マルコ (ティントレット)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。

Gallerie dell'Accademia
Jacopo Sansovino
Scuola Grande di San Marco
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Miracle of the Slave was the first notable work of Tintoretto's career. Prior to Miracle of the Slave, Tintoretto did not have powerful backers. The artist was continually told his brushwork was too rushed and works were unfinished. In particular, the famous Venetian painter Titian was an open critic of Tintoretto’s work to this point.Miracle of the Slave was, from the beginning, the biggest commission Tintoretto had received. The confraternity that paid for the work, the Scuola di San Marco, was the largest and wealthiest lay organization in Venice, and it played a central role in social life. However, the work was not met with immediate success; some members of the confraternity originally insisted the painting be returned Tintoretto. Various theories exist as to the cause of the dispute over the work, ranging from Tintoretto's personality to favoritism from Tintoretto's father-in-law, who held a leadership position within the Scuola Grande di San Marco. Ultimately, though, Miracle of the Slave was met with praise and led to numerous new commissions from Tintoretto.

Prompt: 奴隷を解放する聖マルコ (ティントレット)に焦点を当てて、その文脈を説明してください。英語で出力して下さい。

Scuola Grande di San Marco
Tintoretto
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Miracle of the Slave was the first notable work of Tintoretto's career. Prior to Miracle of the Slave, Tintoretto did not have powerful backers. The artist was continually told his brushwork was too rushed and works were unfinished. In particular, the famous Venetian painter Titian was an open critic of Tintoretto’s work to this point.Miracle of the Slave was, from the beginning, the biggest commission Tintoretto had received. The confraternity that paid for the work, the Scuola di San Marco, was the largest and wealthiest lay organization in Venice, and it played a central role in social life. However, the work was not met with immediate success; some members of the confraternity originally insisted the painting be returned Tintoretto. Various theories exist as to the cause of the dispute over the work, ranging from Tintoretto's personality to favoritism from Tintoretto's father-in-law, who held a leadership position within the Scuola Grande di San Marco. Ultimately, though, Miracle of the Slave was met with praise and led to numerous new commissions from Tintoretto.

Prompt: 奴隷を解放する聖マルコ (ティントレット)の文脈を説明してください。英語で出力して下さい。

Scuola Grande di San Marco
Tintoretto
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Miracle of the Slave was the first notable work of Tintoretto's career. Prior to Miracle of the Slave, Tintoretto did not have powerful backers. The artist was continually told his brushwork was too rushed and works were unfinished. In particular, the famous Venetian painter Titian was an open critic of Tintoretto’s work to this point.Miracle of the Slave was, from the beginning, the biggest commission Tintoretto had received. The confraternity that paid for the work, the Scuola di San Marco, was the largest and wealthiest lay organization in Venice, and it played a central role in social life. However, the work was not met with immediate success; some members of the confraternity originally insisted the painting be returned Tintoretto. Various theories exist as to the cause of the dispute over the work, ranging from Tintoretto's personality to favoritism from Tintoretto's father-in-law, who held a leadership position within the Scuola Grande di San Marco. Ultimately, though, Miracle of the Slave was met with praise and led to numerous new commissions from Tintoretto.

Prompt: 奴隷を解放する聖マルコ (ティントレット)はどのように文脈を説明していますか？英語で出力して下さい。

Scuola Grande di San Marco
Tintoretto
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Miracle of the Slave was the first notable work of Tintoretto's career. Prior to Miracle of the Slave, Tintoretto did not have powerful backers. The artist was continually told his brushwork was too rushed and works were unfinished. In particular, the famous Venetian painter Titian was an open critic of Tintoretto’s work to this point.Miracle of the Slave was, from the beginning, the biggest commission Tintoretto had received. The confraternity that paid for the work, the Scuola di San Marco, was the largest and wealthiest lay organization in Venice, and it played a central role in social life. However, the work was not met with immediate success; some members of the confraternity originally insisted the painting be returned Tintoretto. Various theories exist as to the cause of the dispute over the work, ranging from Tintoretto's personality to favoritism from Tintoretto's father-in-law, who held a leadership position within the Scuola Grande di San Marco. Ultimately, though, Miracle of the Slave was met with praise and led to numerous new commissions from Tintoretto.

Prompt: 奴隷を解放する聖マルコ (ティントレット)に関して、どのように文脈が議論されていますか？英語で出力して下さい。

Scuola Grande di San Marco
Tintoretto
Venice


section

奴隷を解放する聖マルコ (ティントレット)

Interpretations of the painting have focused on its religious content. Contemporary biographer Carlo Ridolfi wrote that Tintoretto changed the course of religious painting in Venice, as everyone after him painted scenes with the "great strength and energy used that he expressed through his figures." More recently, authors have placed Miracle of the Slave at the beginning of Tintoretto's exploration of miraculous intervention, which he often depicted in other works in Venice.}}

Prompt: 奴隷を解放する聖マルコ (ティントレット)に焦点を当てて、その解釈を説明してください。英語で出力して下さい。


section

奴隷を解放する聖マルコ (ティントレット)

Interpretations of the painting have focused on its religious content. Contemporary biographer Carlo Ridolfi wrote that Tintoretto changed the course of religious painting in Venice, as everyone after him painted scenes with the "great strength and energy used that he expressed through his figures." More recently, authors have placed Miracle of the Slave at the beginning of Tintoretto's exploration of miraculous intervention, which he often depicted in other works in Venice.}}

Prompt: 奴隷を解放する聖マルコ (ティントレット)の解釈を説明してください。英語で出力して下さい。


section

奴隷を解放する聖マルコ (ティントレット)

Interpretations of the painting have focused on its religious content. Contemporary biographer Carlo Ridolfi wrote that Tintoretto changed the course of religious painting in Venice, as everyone after him painted scenes with the "great strength and energy used that he expressed through his figures." More recently, authors have placed Miracle of the Slave at the beginning of Tintoretto's exploration of miraculous intervention, which he often depicted in other works in Venice.}}

Prompt: 奴隷を解放する聖マルコ (ティントレット)はどのように解釈を説明していますか？英語で出力して下さい。


section

奴隷を解放する聖マルコ (ティントレット)

Interpretations of the painting have focused on its religious content. Contemporary biographer Carlo Ridolfi wrote that Tintoretto changed the course of religious painting in Venice, as everyone after him painted scenes with the "great strength and energy used that he expressed through his figures." More recently, authors have placed Miracle of the Slave at the beginning of Tintoretto's exploration of miraculous intervention, which he often depicted in other works in Venice.}}

Prompt: 奴隷を解放する聖マルコ (ティントレット)に関して、どのように解釈が議論されていますか？英語で出力して下さい。


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プロクリスの死

The Death of Procris, A Satyr mourning over a Nymph or simply A Mythological Subject are names given to an unsigned, undated panel painting in the National Gallery in London, United Kingdom, securely attributed to Piero di Cosimo .  Its date is uncertain, and its subject has been a matter of dispute. The name The Death of Procris  has been used since the 19th century, and is supposed to have been inspired by Ovid's tale of the death of Procris at the hands of her husband Cephalus, in Metamorphoses VII. The National Gallery has rejected this title since at least Cecil Gould's catalogue of 1951, since when it has preferred to describe the subject as "A Mythological Subject" or "A Satyr mourning over a Nymph".Despite the uncertainty surrounding the subject matter, the painting, which shows a satyr mourning over the body of a young woman, has been one of the most popular works by Piero di Cosimo. Erwin Panofsky was mesmerized by the "strange lure emanating from the picture", and other commentators have admired its "hazy atmosphere of a waking dream".

Prompt: プロクリスの死に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Cecil Gould
Cephalus
Erwin Panofsky
London
Metamorphoses
Ovid
Piero di Cosimo
Procris


section

プロクリスの死

The Death of Procris, A Satyr mourning over a Nymph or simply A Mythological Subject are names given to an unsigned, undated panel painting in the National Gallery in London, United Kingdom, securely attributed to Piero di Cosimo .  Its date is uncertain, and its subject has been a matter of dispute. The name The Death of Procris  has been used since the 19th century, and is supposed to have been inspired by Ovid's tale of the death of Procris at the hands of her husband Cephalus, in Metamorphoses VII. The National Gallery has rejected this title since at least Cecil Gould's catalogue of 1951, since when it has preferred to describe the subject as "A Mythological Subject" or "A Satyr mourning over a Nymph".Despite the uncertainty surrounding the subject matter, the painting, which shows a satyr mourning over the body of a young woman, has been one of the most popular works by Piero di Cosimo. Erwin Panofsky was mesmerized by the "strange lure emanating from the picture", and other commentators have admired its "hazy atmosphere of a waking dream".

Prompt: プロクリスの死の抽象を説明してください。英語で出力して下さい。

Cecil Gould
Cephalus
Erwin Panofsky
London
Metamorphoses
Ovid
Piero di Cosimo
Procris


section

プロクリスの死

The Death of Procris, A Satyr mourning over a Nymph or simply A Mythological Subject are names given to an unsigned, undated panel painting in the National Gallery in London, United Kingdom, securely attributed to Piero di Cosimo .  Its date is uncertain, and its subject has been a matter of dispute. The name The Death of Procris  has been used since the 19th century, and is supposed to have been inspired by Ovid's tale of the death of Procris at the hands of her husband Cephalus, in Metamorphoses VII. The National Gallery has rejected this title since at least Cecil Gould's catalogue of 1951, since when it has preferred to describe the subject as "A Mythological Subject" or "A Satyr mourning over a Nymph".Despite the uncertainty surrounding the subject matter, the painting, which shows a satyr mourning over the body of a young woman, has been one of the most popular works by Piero di Cosimo. Erwin Panofsky was mesmerized by the "strange lure emanating from the picture", and other commentators have admired its "hazy atmosphere of a waking dream".

Prompt: プロクリスの死はどのように抽象を説明していますか？英語で出力して下さい。

Cecil Gould
Cephalus
Erwin Panofsky
London
Metamorphoses
Ovid
Piero di Cosimo
Procris


section

プロクリスの死

The Death of Procris, A Satyr mourning over a Nymph or simply A Mythological Subject are names given to an unsigned, undated panel painting in the National Gallery in London, United Kingdom, securely attributed to Piero di Cosimo .  Its date is uncertain, and its subject has been a matter of dispute. The name The Death of Procris  has been used since the 19th century, and is supposed to have been inspired by Ovid's tale of the death of Procris at the hands of her husband Cephalus, in Metamorphoses VII. The National Gallery has rejected this title since at least Cecil Gould's catalogue of 1951, since when it has preferred to describe the subject as "A Mythological Subject" or "A Satyr mourning over a Nymph".Despite the uncertainty surrounding the subject matter, the painting, which shows a satyr mourning over the body of a young woman, has been one of the most popular works by Piero di Cosimo. Erwin Panofsky was mesmerized by the "strange lure emanating from the picture", and other commentators have admired its "hazy atmosphere of a waking dream".

Prompt: プロクリスの死に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Cecil Gould
Cephalus
Erwin Panofsky
London
Metamorphoses
Ovid
Piero di Cosimo
Procris


section

プロクリスの死

Piero's interest in the story of Procris might have been occasioned by one of the first Italian plays based on a mythological subject, Niccolò da Correggio's Cefalo, which had its premiere at a wedding feast in the Castello Estense  and was printed in Venice in 1507.The upper part of the painting bears the artist's fingerprints. On the back of the panel are a card and a seal with the stemma of the Guicciardini . There is also a drawing interpreted as the frame of a pilaster.

Prompt: プロクリスの死に焦点を当てて、その新婚夫婦への教訓を説明してください。英語で出力して下さい。

Castello Estense
Guicciardini
Niccolò da Correggio
Procris
Venice


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プロクリスの死

Piero's interest in the story of Procris might have been occasioned by one of the first Italian plays based on a mythological subject, Niccolò da Correggio's Cefalo, which had its premiere at a wedding feast in the Castello Estense  and was printed in Venice in 1507.The upper part of the painting bears the artist's fingerprints. On the back of the panel are a card and a seal with the stemma of the Guicciardini . There is also a drawing interpreted as the frame of a pilaster.

Prompt: プロクリスの死の新婚夫婦への教訓を説明してください。英語で出力して下さい。

Castello Estense
Guicciardini
Niccolò da Correggio
Procris
Venice


section

プロクリスの死

Piero's interest in the story of Procris might have been occasioned by one of the first Italian plays based on a mythological subject, Niccolò da Correggio's Cefalo, which had its premiere at a wedding feast in the Castello Estense  and was printed in Venice in 1507.The upper part of the painting bears the artist's fingerprints. On the back of the panel are a card and a seal with the stemma of the Guicciardini . There is also a drawing interpreted as the frame of a pilaster.

Prompt: プロクリスの死はどのように新婚夫婦への教訓を説明していますか？英語で出力して下さい。

Castello Estense
Guicciardini
Niccolò da Correggio
Procris
Venice


section

プロクリスの死

Piero's interest in the story of Procris might have been occasioned by one of the first Italian plays based on a mythological subject, Niccolò da Correggio's Cefalo, which had its premiere at a wedding feast in the Castello Estense  and was printed in Venice in 1507.The upper part of the painting bears the artist's fingerprints. On the back of the panel are a card and a seal with the stemma of the Guicciardini . There is also a drawing interpreted as the frame of a pilaster.

Prompt: プロクリスの死に関して、どのように新婚夫婦への教訓が議論されていますか？英語で出力して下さい。

Castello Estense
Guicciardini
Niccolò da Correggio
Procris
Venice