section

若い女性の肖像 (ポッライオーロ)

The work is one of the most celebrated and best preserved Renaissance portraits of a woman in profile of those attributed to one of the two Pollaiuolo brothers. It is often compared to Portrait of a Woman at the Uffizi, as well as to similar portraits held in the Staatliche Museen, the Metropolitan Museum of Art, and the Isabella Stewart Gardner Museum. Similar facial features can also be seen in  by Andrea della Robbia. These works have traditionally been attributed to Piero del Pollaiuolo, but recent critics, such as Aldo Galli, have proposed attributions to Antonio.The identity of the subject of the portrait in Milan is unclear. Various names have been proposed, including the wife of the banker Giovanni de' Bardi , Marietta Strozzi, or a woman of the Belgioioso family. In the 19th century, the painting was reported by Giovanni Battista Cavalcaselle as being in the Borromeo family collections. It is not known when Gian Giacomo Poldi Pezzoli inherited the work from his mother's family, the . It was, however, transferred to the newly founded Museo Poldi Pezzoli in 1879. The painting was restored to good condition in 1951 by M. Pellicioli. A synthetic transposition of the portrait, created by Italo Lupi, symbolizes the two Ps in the logo of the museum today.

Prompt: 若い女性の肖像 (ポッライオーロ)の歴史を説明してください。英語で出力して下さい。

Andrea della Robbia
Gian Giacomo Poldi Pezzoli
Giovanni Battista Cavalcaselle
Isabella Stewart Gardner Museum
Italo Lupi
Metropolitan Museum of Art
Museo Poldi Pezzoli
Piero del Pollaiuolo
Uffizi


section

若い女性の肖像 (ポッライオーロ)

The work is one of the most celebrated and best preserved Renaissance portraits of a woman in profile of those attributed to one of the two Pollaiuolo brothers. It is often compared to Portrait of a Woman at the Uffizi, as well as to similar portraits held in the Staatliche Museen, the Metropolitan Museum of Art, and the Isabella Stewart Gardner Museum. Similar facial features can also be seen in  by Andrea della Robbia. These works have traditionally been attributed to Piero del Pollaiuolo, but recent critics, such as Aldo Galli, have proposed attributions to Antonio.The identity of the subject of the portrait in Milan is unclear. Various names have been proposed, including the wife of the banker Giovanni de' Bardi , Marietta Strozzi, or a woman of the Belgioioso family. In the 19th century, the painting was reported by Giovanni Battista Cavalcaselle as being in the Borromeo family collections. It is not known when Gian Giacomo Poldi Pezzoli inherited the work from his mother's family, the . It was, however, transferred to the newly founded Museo Poldi Pezzoli in 1879. The painting was restored to good condition in 1951 by M. Pellicioli. A synthetic transposition of the portrait, created by Italo Lupi, symbolizes the two Ps in the logo of the museum today.

Prompt: 若い女性の肖像 (ポッライオーロ)はどのように歴史を説明していますか？英語で出力して下さい。

Andrea della Robbia
Gian Giacomo Poldi Pezzoli
Giovanni Battista Cavalcaselle
Isabella Stewart Gardner Museum
Italo Lupi
Metropolitan Museum of Art
Museo Poldi Pezzoli
Piero del Pollaiuolo
Uffizi


section

若い女性の肖像 (ポッライオーロ)

The work is one of the most celebrated and best preserved Renaissance portraits of a woman in profile of those attributed to one of the two Pollaiuolo brothers. It is often compared to Portrait of a Woman at the Uffizi, as well as to similar portraits held in the Staatliche Museen, the Metropolitan Museum of Art, and the Isabella Stewart Gardner Museum. Similar facial features can also be seen in  by Andrea della Robbia. These works have traditionally been attributed to Piero del Pollaiuolo, but recent critics, such as Aldo Galli, have proposed attributions to Antonio.The identity of the subject of the portrait in Milan is unclear. Various names have been proposed, including the wife of the banker Giovanni de' Bardi , Marietta Strozzi, or a woman of the Belgioioso family. In the 19th century, the painting was reported by Giovanni Battista Cavalcaselle as being in the Borromeo family collections. It is not known when Gian Giacomo Poldi Pezzoli inherited the work from his mother's family, the . It was, however, transferred to the newly founded Museo Poldi Pezzoli in 1879. The painting was restored to good condition in 1951 by M. Pellicioli. A synthetic transposition of the portrait, created by Italo Lupi, symbolizes the two Ps in the logo of the museum today.

Prompt: 若い女性の肖像 (ポッライオーロ)に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Andrea della Robbia
Gian Giacomo Poldi Pezzoli
Giovanni Battista Cavalcaselle
Isabella Stewart Gardner Museum
Italo Lupi
Metropolitan Museum of Art
Museo Poldi Pezzoli
Piero del Pollaiuolo
Uffizi


section

若い女性の肖像 (ポッライオーロ)

The woman is depicted on a background of blue sky, furrowed by clouds. She stands in profile, in the typical genre of Italian court portraits, which combined humanistic ideals with the style of Imperial Roman medals. The airy atmosphere indicates a harmony between nature and feminine beauty, after the classical ideals of the Renaissance. The depiction ends at the woman's shoulders, with a light twist of the torso that makes her neckline visible. The profile is forcefully separated from the background, with a clear, expressive line  that is a typical characteristic of Florentine art in the second half of the 15th century, and in particular the Pollaiuolo brothers. Overall, the portrait is a symbol of Florentine elegance in the 15th century.Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the time. The velvet sleeve presents a concise floral motif, without using the convex effects of Flemish paintings. At that time, the sleeves of a garment were one of its most important parts. They were often interchangeable and decorated with jewels, so much that they were often inventoried as family heirlooms. The painting's attention to the values of light, however, approaches Flemish painting, which defines the materials represented with various light effects. The brilliance of pearls, the translucence of the hair, and the delicacy of the sitter's complexion add to the virtuosic effects.The subject's hair is shown in the so-called "vespaio" hairstyle, with a pattern of pearls. At the center of the pattern is a diadem of precious stones, which hold her hair in an elaborate cross that turns behind her neck and also holds the transparent veil that delicately covers her ears. The jewels she wears  have bridal connotations, suggesting that the portrait might have been made as a dowry gift or a gift to the family of the groom as a sign of a marriage agreement. The pearls, in fact, allude to virginal purity and the ruby to the red of love.

Prompt: 若い女性の肖像 (ポッライオーロ)に焦点を当てて、その説明とスタイルを説明してください。英語で出力して下さい。


section

若い女性の肖像 (ポッライオーロ)

The woman is depicted on a background of blue sky, furrowed by clouds. She stands in profile, in the typical genre of Italian court portraits, which combined humanistic ideals with the style of Imperial Roman medals. The airy atmosphere indicates a harmony between nature and feminine beauty, after the classical ideals of the Renaissance. The depiction ends at the woman's shoulders, with a light twist of the torso that makes her neckline visible. The profile is forcefully separated from the background, with a clear, expressive line  that is a typical characteristic of Florentine art in the second half of the 15th century, and in particular the Pollaiuolo brothers. Overall, the portrait is a symbol of Florentine elegance in the 15th century.Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the time. The velvet sleeve presents a concise floral motif, without using the convex effects of Flemish paintings. At that time, the sleeves of a garment were one of its most important parts. They were often interchangeable and decorated with jewels, so much that they were often inventoried as family heirlooms. The painting's attention to the values of light, however, approaches Flemish painting, which defines the materials represented with various light effects. The brilliance of pearls, the translucence of the hair, and the delicacy of the sitter's complexion add to the virtuosic effects.The subject's hair is shown in the so-called "vespaio" hairstyle, with a pattern of pearls. At the center of the pattern is a diadem of precious stones, which hold her hair in an elaborate cross that turns behind her neck and also holds the transparent veil that delicately covers her ears. The jewels she wears  have bridal connotations, suggesting that the portrait might have been made as a dowry gift or a gift to the family of the groom as a sign of a marriage agreement. The pearls, in fact, allude to virginal purity and the ruby to the red of love.

Prompt: 若い女性の肖像 (ポッライオーロ)の説明とスタイルを説明してください。英語で出力して下さい。


section

若い女性の肖像 (ポッライオーロ)

The woman is depicted on a background of blue sky, furrowed by clouds. She stands in profile, in the typical genre of Italian court portraits, which combined humanistic ideals with the style of Imperial Roman medals. The airy atmosphere indicates a harmony between nature and feminine beauty, after the classical ideals of the Renaissance. The depiction ends at the woman's shoulders, with a light twist of the torso that makes her neckline visible. The profile is forcefully separated from the background, with a clear, expressive line  that is a typical characteristic of Florentine art in the second half of the 15th century, and in particular the Pollaiuolo brothers. Overall, the portrait is a symbol of Florentine elegance in the 15th century.Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the time. The velvet sleeve presents a concise floral motif, without using the convex effects of Flemish paintings. At that time, the sleeves of a garment were one of its most important parts. They were often interchangeable and decorated with jewels, so much that they were often inventoried as family heirlooms. The painting's attention to the values of light, however, approaches Flemish painting, which defines the materials represented with various light effects. The brilliance of pearls, the translucence of the hair, and the delicacy of the sitter's complexion add to the virtuosic effects.The subject's hair is shown in the so-called "vespaio" hairstyle, with a pattern of pearls. At the center of the pattern is a diadem of precious stones, which hold her hair in an elaborate cross that turns behind her neck and also holds the transparent veil that delicately covers her ears. The jewels she wears  have bridal connotations, suggesting that the portrait might have been made as a dowry gift or a gift to the family of the groom as a sign of a marriage agreement. The pearls, in fact, allude to virginal purity and the ruby to the red of love.

Prompt: 若い女性の肖像 (ポッライオーロ)はどのように説明とスタイルを説明していますか？英語で出力して下さい。


section

若い女性の肖像 (ポッライオーロ)

The woman is depicted on a background of blue sky, furrowed by clouds. She stands in profile, in the typical genre of Italian court portraits, which combined humanistic ideals with the style of Imperial Roman medals. The airy atmosphere indicates a harmony between nature and feminine beauty, after the classical ideals of the Renaissance. The depiction ends at the woman's shoulders, with a light twist of the torso that makes her neckline visible. The profile is forcefully separated from the background, with a clear, expressive line  that is a typical characteristic of Florentine art in the second half of the 15th century, and in particular the Pollaiuolo brothers. Overall, the portrait is a symbol of Florentine elegance in the 15th century.Great attention has been given to her clothes, jewels, and elaborate hairstyle, which underlines the noble character and stature of the woman. Her corset is low-cut and fitted, connected on the front with a close series of buttons in a style popular among youth at the time. The velvet sleeve presents a concise floral motif, without using the convex effects of Flemish paintings. At that time, the sleeves of a garment were one of its most important parts. They were often interchangeable and decorated with jewels, so much that they were often inventoried as family heirlooms. The painting's attention to the values of light, however, approaches Flemish painting, which defines the materials represented with various light effects. The brilliance of pearls, the translucence of the hair, and the delicacy of the sitter's complexion add to the virtuosic effects.The subject's hair is shown in the so-called "vespaio" hairstyle, with a pattern of pearls. At the center of the pattern is a diadem of precious stones, which hold her hair in an elaborate cross that turns behind her neck and also holds the transparent veil that delicately covers her ears. The jewels she wears  have bridal connotations, suggesting that the portrait might have been made as a dowry gift or a gift to the family of the groom as a sign of a marriage agreement. The pearls, in fact, allude to virginal purity and the ruby to the red of love.

Prompt: 若い女性の肖像 (ポッライオーロ)に関して、どのように説明とスタイルが議論されていますか？英語で出力して下さい。


section

若い女性の肖像 (ポッライオーロ)

Aldo Galli, I Pollaiolo, "Galleria delle arti" series, no. 7, 5 Continents Editions, Milan 2005. Vittorio Sgarbi, Il ritratto di dama del Pollaiolo, article in Bell'Italia, November 2009, p. 26.

Prompt: 若い女性の肖像 (ポッライオーロ)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

若い女性の肖像 (ポッライオーロ)

Aldo Galli, I Pollaiolo, "Galleria delle arti" series, no. 7, 5 Continents Editions, Milan 2005. Vittorio Sgarbi, Il ritratto di dama del Pollaiolo, article in Bell'Italia, November 2009, p. 26.

Prompt: 若い女性の肖像 (ポッライオーロ)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

若い女性の肖像 (ポッライオーロ)

Aldo Galli, I Pollaiolo, "Galleria delle arti" series, no. 7, 5 Continents Editions, Milan 2005. Vittorio Sgarbi, Il ritratto di dama del Pollaiolo, article in Bell'Italia, November 2009, p. 26.

Prompt: 若い女性の肖像 (ポッライオーロ)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

若い女性の肖像 (ポッライオーロ)

Aldo Galli, I Pollaiolo, "Galleria delle arti" series, no. 7, 5 Continents Editions, Milan 2005. Vittorio Sgarbi, Il ritratto di dama del Pollaiolo, article in Bell'Italia, November 2009, p. 26.

Prompt: 若い女性の肖像 (ポッライオーロ)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

イレーヌ・カーン・ダンヴェール嬢

1880 material= Oil on canvas height_metric=65 width_metric=54 city=Zürich museum=Foundation E.G. Bührle}}The Portrait of Irène Cahen d’Anvers, or The Little Girl with the Blue Ribbon  or Little Irène , is an oil painting by French Impressionist artist Pierre-Auguste Renoir.Commissioned by the wealthy French Jewish banker Louis Cahen d'Anvers in 1880, the painting depicts his daughter Irène Cahen d'Anvers at the age of 8. During World War II, the painting was stolen by the Nazis during their organized looting of European countries. In 1946 it resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". In 2014, it appeared in the war film The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program.

Prompt: イレーヌ・カーン・ダンヴェール嬢に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

イレーヌ・カーン・ダンヴェール嬢

1880 material= Oil on canvas height_metric=65 width_metric=54 city=Zürich museum=Foundation E.G. Bührle}}The Portrait of Irène Cahen d’Anvers, or The Little Girl with the Blue Ribbon  or Little Irène , is an oil painting by French Impressionist artist Pierre-Auguste Renoir.Commissioned by the wealthy French Jewish banker Louis Cahen d'Anvers in 1880, the painting depicts his daughter Irène Cahen d'Anvers at the age of 8. During World War II, the painting was stolen by the Nazis during their organized looting of European countries. In 1946 it resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". In 2014, it appeared in the war film The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program.

Prompt: イレーヌ・カーン・ダンヴェール嬢の抽象を説明してください。英語で出力して下さい。


section

イレーヌ・カーン・ダンヴェール嬢

1880 material= Oil on canvas height_metric=65 width_metric=54 city=Zürich museum=Foundation E.G. Bührle}}The Portrait of Irène Cahen d’Anvers, or The Little Girl with the Blue Ribbon  or Little Irène , is an oil painting by French Impressionist artist Pierre-Auguste Renoir.Commissioned by the wealthy French Jewish banker Louis Cahen d'Anvers in 1880, the painting depicts his daughter Irène Cahen d'Anvers at the age of 8. During World War II, the painting was stolen by the Nazis during their organized looting of European countries. In 1946 it resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". In 2014, it appeared in the war film The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program.

Prompt: イレーヌ・カーン・ダンヴェール嬢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

イレーヌ・カーン・ダンヴェール嬢

1880 material= Oil on canvas height_metric=65 width_metric=54 city=Zürich museum=Foundation E.G. Bührle}}The Portrait of Irène Cahen d’Anvers, or The Little Girl with the Blue Ribbon  or Little Irène , is an oil painting by French Impressionist artist Pierre-Auguste Renoir.Commissioned by the wealthy French Jewish banker Louis Cahen d'Anvers in 1880, the painting depicts his daughter Irène Cahen d'Anvers at the age of 8. During World War II, the painting was stolen by the Nazis during their organized looting of European countries. In 1946 it resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". In 2014, it appeared in the war film The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program.

Prompt: イレーヌ・カーン・ダンヴェール嬢に関して、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

イレーヌ・カーン・ダンヴェール嬢

In the 1870s-80s, Renoir frequently painted portraits for the families of the Parisian Jewish community. Through the collector Charles Ephrussi, proprietor of the Gazette des Beaux-Arts, Renoir met Louis Cahen d'Anvers. The Cahen d'Anvers family was one of the wealthiest Jewish banking families in Paris. In 1880, Louis Cahen d'Anvers commissioned two portraits of his three daughters, the eldest of whom was Irène. The younger daughters Alice and Elizabeth would become the subject of a later painting by Renoir, now commonly known as Pink and Blue.The Portrait of Irène Cahen d'Anvers, also commonly called Little Irene, is considered today as one of Renoir's masterpieces. At the time, for an unknown reason, Louis was so dissatisfied with the painting that he hung it in the servants' quarters and delayed Renoir's payment of 1500 francs.In 1883, the painting was first exhibited in the first exhibition dedicated exclusively to Renoir, held in Paul Durand-Ruel's Boulevard des Capucines gallery. In 1910 the painting was purchased by the wealthy Camondo family, into which Irène had married in 1891. After the fall of France, the painting was looted from Château de Chambord by the Nazis. Like many other important pieces of European art, it became a part of Hermann Göring's personal collection, Göring later traded the painting with Gustav Rochlitz for a Florentine Tondo. In 1946, Portrait of Irène Cahen d'Anvers resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". The painting along with dozens of other artwork stolen by the Nazis was later acquired by Emil Georg Bührle, a Swiss industrialist, art collector of German origin and CEO of the armaments company Oerlikon, a wartime supplier of the German military. The painting remains part of the E.G. Bührle Collection in Zürich.In 2014, it appeared in the movie The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program. In 2018, Little Irène gained popularity in Japan when it was exhibited in the National Art Center in Tokyo, as part of a series on Impressionist artworks on loan from the E.G. Bührle Collection.

Prompt: イレーヌ・カーン・ダンヴェール嬢に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

イレーヌ・カーン・ダンヴェール嬢

In the 1870s-80s, Renoir frequently painted portraits for the families of the Parisian Jewish community. Through the collector Charles Ephrussi, proprietor of the Gazette des Beaux-Arts, Renoir met Louis Cahen d'Anvers. The Cahen d'Anvers family was one of the wealthiest Jewish banking families in Paris. In 1880, Louis Cahen d'Anvers commissioned two portraits of his three daughters, the eldest of whom was Irène. The younger daughters Alice and Elizabeth would become the subject of a later painting by Renoir, now commonly known as Pink and Blue.The Portrait of Irène Cahen d'Anvers, also commonly called Little Irene, is considered today as one of Renoir's masterpieces. At the time, for an unknown reason, Louis was so dissatisfied with the painting that he hung it in the servants' quarters and delayed Renoir's payment of 1500 francs.In 1883, the painting was first exhibited in the first exhibition dedicated exclusively to Renoir, held in Paul Durand-Ruel's Boulevard des Capucines gallery. In 1910 the painting was purchased by the wealthy Camondo family, into which Irène had married in 1891. After the fall of France, the painting was looted from Château de Chambord by the Nazis. Like many other important pieces of European art, it became a part of Hermann Göring's personal collection, Göring later traded the painting with Gustav Rochlitz for a Florentine Tondo. In 1946, Portrait of Irène Cahen d'Anvers resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". The painting along with dozens of other artwork stolen by the Nazis was later acquired by Emil Georg Bührle, a Swiss industrialist, art collector of German origin and CEO of the armaments company Oerlikon, a wartime supplier of the German military. The painting remains part of the E.G. Bührle Collection in Zürich.In 2014, it appeared in the movie The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program. In 2018, Little Irène gained popularity in Japan when it was exhibited in the National Art Center in Tokyo, as part of a series on Impressionist artworks on loan from the E.G. Bührle Collection.

Prompt: イレーヌ・カーン・ダンヴェール嬢の歴史を説明してください。英語で出力して下さい。


section

イレーヌ・カーン・ダンヴェール嬢

In the 1870s-80s, Renoir frequently painted portraits for the families of the Parisian Jewish community. Through the collector Charles Ephrussi, proprietor of the Gazette des Beaux-Arts, Renoir met Louis Cahen d'Anvers. The Cahen d'Anvers family was one of the wealthiest Jewish banking families in Paris. In 1880, Louis Cahen d'Anvers commissioned two portraits of his three daughters, the eldest of whom was Irène. The younger daughters Alice and Elizabeth would become the subject of a later painting by Renoir, now commonly known as Pink and Blue.The Portrait of Irène Cahen d'Anvers, also commonly called Little Irene, is considered today as one of Renoir's masterpieces. At the time, for an unknown reason, Louis was so dissatisfied with the painting that he hung it in the servants' quarters and delayed Renoir's payment of 1500 francs.In 1883, the painting was first exhibited in the first exhibition dedicated exclusively to Renoir, held in Paul Durand-Ruel's Boulevard des Capucines gallery. In 1910 the painting was purchased by the wealthy Camondo family, into which Irène had married in 1891. After the fall of France, the painting was looted from Château de Chambord by the Nazis. Like many other important pieces of European art, it became a part of Hermann Göring's personal collection, Göring later traded the painting with Gustav Rochlitz for a Florentine Tondo. In 1946, Portrait of Irène Cahen d'Anvers resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". The painting along with dozens of other artwork stolen by the Nazis was later acquired by Emil Georg Bührle, a Swiss industrialist, art collector of German origin and CEO of the armaments company Oerlikon, a wartime supplier of the German military. The painting remains part of the E.G. Bührle Collection in Zürich.In 2014, it appeared in the movie The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program. In 2018, Little Irène gained popularity in Japan when it was exhibited in the National Art Center in Tokyo, as part of a series on Impressionist artworks on loan from the E.G. Bührle Collection.

Prompt: イレーヌ・カーン・ダンヴェール嬢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。


section

イレーヌ・カーン・ダンヴェール嬢

In the 1870s-80s, Renoir frequently painted portraits for the families of the Parisian Jewish community. Through the collector Charles Ephrussi, proprietor of the Gazette des Beaux-Arts, Renoir met Louis Cahen d'Anvers. The Cahen d'Anvers family was one of the wealthiest Jewish banking families in Paris. In 1880, Louis Cahen d'Anvers commissioned two portraits of his three daughters, the eldest of whom was Irène. The younger daughters Alice and Elizabeth would become the subject of a later painting by Renoir, now commonly known as Pink and Blue.The Portrait of Irène Cahen d'Anvers, also commonly called Little Irene, is considered today as one of Renoir's masterpieces. At the time, for an unknown reason, Louis was so dissatisfied with the painting that he hung it in the servants' quarters and delayed Renoir's payment of 1500 francs.In 1883, the painting was first exhibited in the first exhibition dedicated exclusively to Renoir, held in Paul Durand-Ruel's Boulevard des Capucines gallery. In 1910 the painting was purchased by the wealthy Camondo family, into which Irène had married in 1891. After the fall of France, the painting was looted from Château de Chambord by the Nazis. Like many other important pieces of European art, it became a part of Hermann Göring's personal collection, Göring later traded the painting with Gustav Rochlitz for a Florentine Tondo. In 1946, Portrait of Irène Cahen d'Anvers resurfaced and was exhibited in Paris as one of the "French masterpieces found in Germany". The painting along with dozens of other artwork stolen by the Nazis was later acquired by Emil Georg Bührle, a Swiss industrialist, art collector of German origin and CEO of the armaments company Oerlikon, a wartime supplier of the German military. The painting remains part of the E.G. Bührle Collection in Zürich.In 2014, it appeared in the movie The Monuments Men as one of the pieces of art saved by the Monuments, Fine Arts, and Archives program. In 2018, Little Irène gained popularity in Japan when it was exhibited in the National Art Center in Tokyo, as part of a series on Impressionist artworks on loan from the E.G. Bührle Collection.

Prompt: イレーヌ・カーン・ダンヴェール嬢に関して、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。


section

イレーヌ・カーン・ダンヴェール嬢

Irène Cahen d’Anvers , the subject of this painting, was 8 years old at the time of the portrait. The eldest daughter of the wealthy Jewish French banker Count Louis Cahen d'Anvers, she married Count Moïse de Camondo in 1891, aged 19. They separated in August 1897 after her affair with de Camondo's stable master, Count Charles Sampieri , whom she would later marry and divorce. Irène had two children with de Camondo, Nissim and Béatrice. During World War I Nissim became a fighter pilot of the French Air Force and was killed in action in 1917 over Lorraine. In 1935, Moïse de Camondo bequeathed his Parisian mansion, at 63 rue de Monceau, including its contents and a major collection of art, to the Musée des Arts Décoratifs to be used to create the Musée Nissim de Camondo in honour of his and Irène's son. During World War II, Béatrice, her ex-husband Leon Reinach and their two children were murdered by the Nazis in Auschwitz because of their Jewish ancestry. Irène spent the war in hiding in Paris  using her Italian name and passport. As her daughter Béatrice's sole inheritor, Irène received the large de Camondo fortune, that she would squander in the casinos of the French Riviera. Irène also had a daughter with Sampieri, Claude Germaine , who would marry the French fighter ace and race car driver André Dubonnet. Irène lived until 1963 and died in Paris, aged 91.

Prompt: イレーヌ・カーン・ダンヴェール嬢に焦点を当てて、そのイレーヌ・カーン・ダンヴェールを説明してください。英語で出力して下さい。

André Dubonnet
Leon Reinach
Lorraine
Louis Cahen d'Anvers
Moïse de Camondo
Musée Nissim de Camondo
Nissim de Camondo
Paris
World War I
World War II


section

イレーヌ・カーン・ダンヴェール嬢

Irène Cahen d’Anvers , the subject of this painting, was 8 years old at the time of the portrait. The eldest daughter of the wealthy Jewish French banker Count Louis Cahen d'Anvers, she married Count Moïse de Camondo in 1891, aged 19. They separated in August 1897 after her affair with de Camondo's stable master, Count Charles Sampieri , whom she would later marry and divorce. Irène had two children with de Camondo, Nissim and Béatrice. During World War I Nissim became a fighter pilot of the French Air Force and was killed in action in 1917 over Lorraine. In 1935, Moïse de Camondo bequeathed his Parisian mansion, at 63 rue de Monceau, including its contents and a major collection of art, to the Musée des Arts Décoratifs to be used to create the Musée Nissim de Camondo in honour of his and Irène's son. During World War II, Béatrice, her ex-husband Leon Reinach and their two children were murdered by the Nazis in Auschwitz because of their Jewish ancestry. Irène spent the war in hiding in Paris  using her Italian name and passport. As her daughter Béatrice's sole inheritor, Irène received the large de Camondo fortune, that she would squander in the casinos of the French Riviera. Irène also had a daughter with Sampieri, Claude Germaine , who would marry the French fighter ace and race car driver André Dubonnet. Irène lived until 1963 and died in Paris, aged 91.

Prompt: イレーヌ・カーン・ダンヴェール嬢のイレーヌ・カーン・ダンヴェールを説明してください。英語で出力して下さい。

André Dubonnet
Leon Reinach
Lorraine
Louis Cahen d'Anvers
Moïse de Camondo
Musée Nissim de Camondo
Nissim de Camondo
Paris
World War I
World War II


section

イレーヌ・カーン・ダンヴェール嬢

Irène Cahen d’Anvers , the subject of this painting, was 8 years old at the time of the portrait. The eldest daughter of the wealthy Jewish French banker Count Louis Cahen d'Anvers, she married Count Moïse de Camondo in 1891, aged 19. They separated in August 1897 after her affair with de Camondo's stable master, Count Charles Sampieri , whom she would later marry and divorce. Irène had two children with de Camondo, Nissim and Béatrice. During World War I Nissim became a fighter pilot of the French Air Force and was killed in action in 1917 over Lorraine. In 1935, Moïse de Camondo bequeathed his Parisian mansion, at 63 rue de Monceau, including its contents and a major collection of art, to the Musée des Arts Décoratifs to be used to create the Musée Nissim de Camondo in honour of his and Irène's son. During World War II, Béatrice, her ex-husband Leon Reinach and their two children were murdered by the Nazis in Auschwitz because of their Jewish ancestry. Irène spent the war in hiding in Paris  using her Italian name and passport. As her daughter Béatrice's sole inheritor, Irène received the large de Camondo fortune, that she would squander in the casinos of the French Riviera. Irène also had a daughter with Sampieri, Claude Germaine , who would marry the French fighter ace and race car driver André Dubonnet. Irène lived until 1963 and died in Paris, aged 91.

Prompt: イレーヌ・カーン・ダンヴェール嬢はどのようにイレーヌ・カーン・ダンヴェールを説明していますか？英語で出力して下さい。

André Dubonnet
Leon Reinach
Lorraine
Louis Cahen d'Anvers
Moïse de Camondo
Musée Nissim de Camondo
Nissim de Camondo
Paris
World War I
World War II


section

イレーヌ・カーン・ダンヴェール嬢

Irène Cahen d’Anvers , the subject of this painting, was 8 years old at the time of the portrait. The eldest daughter of the wealthy Jewish French banker Count Louis Cahen d'Anvers, she married Count Moïse de Camondo in 1891, aged 19. They separated in August 1897 after her affair with de Camondo's stable master, Count Charles Sampieri , whom she would later marry and divorce. Irène had two children with de Camondo, Nissim and Béatrice. During World War I Nissim became a fighter pilot of the French Air Force and was killed in action in 1917 over Lorraine. In 1935, Moïse de Camondo bequeathed his Parisian mansion, at 63 rue de Monceau, including its contents and a major collection of art, to the Musée des Arts Décoratifs to be used to create the Musée Nissim de Camondo in honour of his and Irène's son. During World War II, Béatrice, her ex-husband Leon Reinach and their two children were murdered by the Nazis in Auschwitz because of their Jewish ancestry. Irène spent the war in hiding in Paris  using her Italian name and passport. As her daughter Béatrice's sole inheritor, Irène received the large de Camondo fortune, that she would squander in the casinos of the French Riviera. Irène also had a daughter with Sampieri, Claude Germaine , who would marry the French fighter ace and race car driver André Dubonnet. Irène lived until 1963 and died in Paris, aged 91.

Prompt: イレーヌ・カーン・ダンヴェール嬢に関して、どのようにイレーヌ・カーン・ダンヴェールが議論されていますか？英語で出力して下さい。

André Dubonnet
Leon Reinach
Lorraine
Louis Cahen d'Anvers
Moïse de Camondo
Musée Nissim de Camondo
Nissim de Camondo
Paris
World War I
World War II


section

イレーヌ・カーン・ダンヴェール嬢

List of paintings by Pierre-Auguste Renoir

Prompt: イレーヌ・カーン・ダンヴェール嬢に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

イレーヌ・カーン・ダンヴェール嬢

List of paintings by Pierre-Auguste Renoir

Prompt: イレーヌ・カーン・ダンヴェール嬢の参照を説明してください。英語で出力して下さい。


section

イレーヌ・カーン・ダンヴェール嬢

List of paintings by Pierre-Auguste Renoir

Prompt: イレーヌ・カーン・ダンヴェール嬢はどのように参照を説明していますか？英語で出力して下さい。


section

イレーヌ・カーン・ダンヴェール嬢

List of paintings by Pierre-Auguste Renoir

Prompt: イレーヌ・カーン・ダンヴェール嬢に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

イレーヌ・カーン・ダンヴェール嬢

Julian, Ph. Rose' de Renoir retrouvé. In: Le Figaro littéraire. Paris, 1962, pp. 22.Category:Portraits by Pierre-Auguste RenoirCategory:1880 paintingsCategory:Paintings of childrencategory:19th-century portraits

Prompt: イレーヌ・カーン・ダンヴェール嬢に焦点を当てて、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

イレーヌ・カーン・ダンヴェール嬢

Julian, Ph. Rose' de Renoir retrouvé. In: Le Figaro littéraire. Paris, 1962, pp. 22.Category:Portraits by Pierre-Auguste RenoirCategory:1880 paintingsCategory:Paintings of childrencategory:19th-century portraits

Prompt: イレーヌ・カーン・ダンヴェール嬢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

イレーヌ・カーン・ダンヴェール嬢

Julian, Ph. Rose' de Renoir retrouvé. In: Le Figaro littéraire. Paris, 1962, pp. 22.Category:Portraits by Pierre-Auguste RenoirCategory:1880 paintingsCategory:Paintings of childrencategory:19th-century portraits

Prompt: イレーヌ・カーン・ダンヴェール嬢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

イレーヌ・カーン・ダンヴェール嬢

Julian, Ph. Rose' de Renoir retrouvé. In: Le Figaro littéraire. Paris, 1962, pp. 22.Category:Portraits by Pierre-Auguste RenoirCategory:1880 paintingsCategory:Paintings of childrencategory:19th-century portraits

Prompt: イレーヌ・カーン・ダンヴェール嬢に関して、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

聖母子と智天使 (ロッソ・フィオレンティーノ)

year = c. 1512-1517 museum = Hermitage Museum city = Saint Petersburg}}Madonna and Child with Cherubs or The Virgin and the Child with Angels is an oil painting by the Italian Mannerist painter Rosso Fiorentino, created between 1512 and 1517. Originally on panel, it was later transferred to canvas. It was acquired in 1810 in Paris with help from the baron Dominique Vivant Denon for the Hermitage Museum, in Saint Petersburg, where it now hangs.The composition draws on models by Fra Bartolomeo and the pyramidical group owes much to Michelangelo. It is also reminiscent of Fiorentino's own Assumption of the Virgin, first painted in 1512–1513 and retouched or repainted in 1517.The influence of Michelangelo is apparent in the twisting of Mary and in the plastic vigor of the figures, while the accentuation of the expressions already reveals a completely personal non-conformism, slightly enlarging the somatic features of the faces: the mouths are elongated grins, the noses marked, the eyes large.The tender embrace that binds Mary and her son seems to echo the Madonna of Bruges, while the cherubs that emerge from the background have echoes of the unfinished of works such as the Taddei Tondo and the Tondo Pitti. Among the putti, particularly singular is the one which, in the foreground, projects its head and shoulders outwards and holds a hand at its side: it looks very much like a view of Michelangelo's David from above. The other cherubs also show bold views and expressive twists of great originality.The colour presents a strong contrast between cool tones—the ice blue and midnight blue of the background and Mary's cloak—and the warm and luminous shades of the skin tones.

Prompt: 聖母子と智天使 (ロッソ・フィオレンティーノ)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。

Vivant Denon
Fra Bartolomeo
Hermitage Museum
Madonna of Bruges
Michelangelo
Rosso Fiorentino
Saint Petersburg
Taddei Tondo


section

聖母子と智天使 (ロッソ・フィオレンティーノ)

year = c. 1512-1517 museum = Hermitage Museum city = Saint Petersburg}}Madonna and Child with Cherubs or The Virgin and the Child with Angels is an oil painting by the Italian Mannerist painter Rosso Fiorentino, created between 1512 and 1517. Originally on panel, it was later transferred to canvas. It was acquired in 1810 in Paris with help from the baron Dominique Vivant Denon for the Hermitage Museum, in Saint Petersburg, where it now hangs.The composition draws on models by Fra Bartolomeo and the pyramidical group owes much to Michelangelo. It is also reminiscent of Fiorentino's own Assumption of the Virgin, first painted in 1512–1513 and retouched or repainted in 1517.The influence of Michelangelo is apparent in the twisting of Mary and in the plastic vigor of the figures, while the accentuation of the expressions already reveals a completely personal non-conformism, slightly enlarging the somatic features of the faces: the mouths are elongated grins, the noses marked, the eyes large.The tender embrace that binds Mary and her son seems to echo the Madonna of Bruges, while the cherubs that emerge from the background have echoes of the unfinished of works such as the Taddei Tondo and the Tondo Pitti. Among the putti, particularly singular is the one which, in the foreground, projects its head and shoulders outwards and holds a hand at its side: it looks very much like a view of Michelangelo's David from above. The other cherubs also show bold views and expressive twists of great originality.The colour presents a strong contrast between cool tones—the ice blue and midnight blue of the background and Mary's cloak—and the warm and luminous shades of the skin tones.

Prompt: 聖母子と智天使 (ロッソ・フィオレンティーノ)の抽象を説明してください。英語で出力して下さい。

Vivant Denon
Fra Bartolomeo
Hermitage Museum
Madonna of Bruges
Michelangelo
Rosso Fiorentino
Saint Petersburg
Taddei Tondo


section

聖母子と智天使 (ロッソ・フィオレンティーノ)

year = c. 1512-1517 museum = Hermitage Museum city = Saint Petersburg}}Madonna and Child with Cherubs or The Virgin and the Child with Angels is an oil painting by the Italian Mannerist painter Rosso Fiorentino, created between 1512 and 1517. Originally on panel, it was later transferred to canvas. It was acquired in 1810 in Paris with help from the baron Dominique Vivant Denon for the Hermitage Museum, in Saint Petersburg, where it now hangs.The composition draws on models by Fra Bartolomeo and the pyramidical group owes much to Michelangelo. It is also reminiscent of Fiorentino's own Assumption of the Virgin, first painted in 1512–1513 and retouched or repainted in 1517.The influence of Michelangelo is apparent in the twisting of Mary and in the plastic vigor of the figures, while the accentuation of the expressions already reveals a completely personal non-conformism, slightly enlarging the somatic features of the faces: the mouths are elongated grins, the noses marked, the eyes large.The tender embrace that binds Mary and her son seems to echo the Madonna of Bruges, while the cherubs that emerge from the background have echoes of the unfinished of works such as the Taddei Tondo and the Tondo Pitti. Among the putti, particularly singular is the one which, in the foreground, projects its head and shoulders outwards and holds a hand at its side: it looks very much like a view of Michelangelo's David from above. The other cherubs also show bold views and expressive twists of great originality.The colour presents a strong contrast between cool tones—the ice blue and midnight blue of the background and Mary's cloak—and the warm and luminous shades of the skin tones.

Prompt: 聖母子と智天使 (ロッソ・フィオレンティーノ)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。

Vivant Denon
Fra Bartolomeo
Hermitage Museum
Madonna of Bruges
Michelangelo
Rosso Fiorentino
Saint Petersburg
Taddei Tondo


section

聖母子と智天使 (ロッソ・フィオレンティーノ)

year = c. 1512-1517 museum = Hermitage Museum city = Saint Petersburg}}Madonna and Child with Cherubs or The Virgin and the Child with Angels is an oil painting by the Italian Mannerist painter Rosso Fiorentino, created between 1512 and 1517. Originally on panel, it was later transferred to canvas. It was acquired in 1810 in Paris with help from the baron Dominique Vivant Denon for the Hermitage Museum, in Saint Petersburg, where it now hangs.The composition draws on models by Fra Bartolomeo and the pyramidical group owes much to Michelangelo. It is also reminiscent of Fiorentino's own Assumption of the Virgin, first painted in 1512–1513 and retouched or repainted in 1517.The influence of Michelangelo is apparent in the twisting of Mary and in the plastic vigor of the figures, while the accentuation of the expressions already reveals a completely personal non-conformism, slightly enlarging the somatic features of the faces: the mouths are elongated grins, the noses marked, the eyes large.The tender embrace that binds Mary and her son seems to echo the Madonna of Bruges, while the cherubs that emerge from the background have echoes of the unfinished of works such as the Taddei Tondo and the Tondo Pitti. Among the putti, particularly singular is the one which, in the foreground, projects its head and shoulders outwards and holds a hand at its side: it looks very much like a view of Michelangelo's David from above. The other cherubs also show bold views and expressive twists of great originality.The colour presents a strong contrast between cool tones—the ice blue and midnight blue of the background and Mary's cloak—and the warm and luminous shades of the skin tones.

Prompt: 聖母子と智天使 (ロッソ・フィオレンティーノ)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。

Vivant Denon
Fra Bartolomeo
Hermitage Museum
Madonna of Bruges
Michelangelo
Rosso Fiorentino
Saint Petersburg
Taddei Tondo


section

静物画

completion_date    =   catalogue          =  medium             =  movement           = subject            =  height_metric      =   width_metric       =  length_metric      =  diameter_metric    =  height_imperial    =   width_imperial     =  length_imperial    =  diameter_imperial  =  dimensions         =  dimensions_ref     =  metric_unit        = cm   imperial_unit      = in   weight             =  designation        =  condition          =  museum             = Timken Museum of Art city               = San Diego, California, U.S. coordinates        =   owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}Still Life is a 1657 oil painting by Pieter Claesz.

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


section

静物画

completion_date    =   catalogue          =  medium             =  movement           = subject            =  height_metric      =   width_metric       =  length_metric      =  diameter_metric    =  height_imperial    =   width_imperial     =  length_imperial    =  diameter_imperial  =  dimensions         =  dimensions_ref     =  metric_unit        = cm   imperial_unit      = in   weight             =  designation        =  condition          =  museum             = Timken Museum of Art city               = San Diego, California, U.S. coordinates        =   owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}Still Life is a 1657 oil painting by Pieter Claesz.

Prompt: 静物画の抽象を説明してください。英語で出力して下さい。


section

静物画

completion_date    =   catalogue          =  medium             =  movement           = subject            =  height_metric      =   width_metric       =  length_metric      =  diameter_metric    =  height_imperial    =   width_imperial     =  length_imperial    =  diameter_imperial  =  dimensions         =  dimensions_ref     =  metric_unit        = cm   imperial_unit      = in   weight             =  designation        =  condition          =  museum             = Timken Museum of Art city               = San Diego, California, U.S. coordinates        =   owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}Still Life is a 1657 oil painting by Pieter Claesz.

Prompt: 静物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。


section

静物画

completion_date    =   catalogue          =  medium             =  movement           = subject            =  height_metric      =   width_metric       =  length_metric      =  diameter_metric    =  height_imperial    =   width_imperial     =  length_imperial    =  diameter_imperial  =  dimensions         =  dimensions_ref     =  metric_unit        = cm   imperial_unit      = in   weight             =  designation        =  condition          =  museum             = Timken Museum of Art city               = San Diego, California, U.S. coordinates        =   owner              =  accession          =  preceded_by        =   followed_by        =   module             =  website            =  }}Still Life is a 1657 oil painting by Pieter Claesz.

Prompt: 静物画に関して、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。


section

静物画

Category:1627 paintingsCategory:Paintings in the Timken Museum of Art

Prompt: 静物画に焦点を当てて、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

静物画

Category:1627 paintingsCategory:Paintings in the Timken Museum of Art

Prompt: 静物画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

静物画

Category:1627 paintingsCategory:Paintings in the Timken Museum of Art

Prompt: 静物画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

静物画

Category:1627 paintingsCategory:Paintings in the Timken Museum of Art

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


section

ダナエに扮するランゲ嬢

nge as Danaë image_file       = Anne-Louis Girodet de Roussy-Trioson - Mademoiselle nge comme Danaé.jpg image_size       = 250px artist           = Anne-Louis Girodet de Roussy-Trioson year             = 1799 medium           = Oil on canvas subject          = Anne Françoise Elisabeth nge height_metric    = 60.33 width_metric     = 48.58 metric_unit      = cm museum           = Minneapolis Institute of Art city             = Minneapolis}}The Portrait of M nge as Danaë is a painting by French painter Anne-Louis Girodet de Roussy-Trioson. This satirical painting of the actress Anne Françoise Elisabeth nge as Danaë replaced a Venus for the last two days of the Paris Salon of 1799, after a dispute between the artist and the sitter.It is now part of the collection of the Minneapolis Institute of Arts.

Prompt: ダナエに扮するランゲ嬢に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Anne-Louis Girodet de Roussy-Trioson
Danaë
Danaë
Minneapolis
Minneapolis Institute of Art
Minneapolis Institute of Art


section

ダナエに扮するランゲ嬢

nge as Danaë image_file       = Anne-Louis Girodet de Roussy-Trioson - Mademoiselle nge comme Danaé.jpg image_size       = 250px artist           = Anne-Louis Girodet de Roussy-Trioson year             = 1799 medium           = Oil on canvas subject          = Anne Françoise Elisabeth nge height_metric    = 60.33 width_metric     = 48.58 metric_unit      = cm museum           = Minneapolis Institute of Art city             = Minneapolis}}The Portrait of M nge as Danaë is a painting by French painter Anne-Louis Girodet de Roussy-Trioson. This satirical painting of the actress Anne Françoise Elisabeth nge as Danaë replaced a Venus for the last two days of the Paris Salon of 1799, after a dispute between the artist and the sitter.It is now part of the collection of the Minneapolis Institute of Arts.

Prompt: ダナエに扮するランゲ嬢の抽象を説明してください。英語で出力して下さい。

Anne-Louis Girodet de Roussy-Trioson
Danaë
Danaë
Minneapolis
Minneapolis Institute of Art
Minneapolis Institute of Art


section

ダナエに扮するランゲ嬢

nge as Danaë image_file       = Anne-Louis Girodet de Roussy-Trioson - Mademoiselle nge comme Danaé.jpg image_size       = 250px artist           = Anne-Louis Girodet de Roussy-Trioson year             = 1799 medium           = Oil on canvas subject          = Anne Françoise Elisabeth nge height_metric    = 60.33 width_metric     = 48.58 metric_unit      = cm museum           = Minneapolis Institute of Art city             = Minneapolis}}The Portrait of M nge as Danaë is a painting by French painter Anne-Louis Girodet de Roussy-Trioson. This satirical painting of the actress Anne Françoise Elisabeth nge as Danaë replaced a Venus for the last two days of the Paris Salon of 1799, after a dispute between the artist and the sitter.It is now part of the collection of the Minneapolis Institute of Arts.

Prompt: ダナエに扮するランゲ嬢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。

Anne-Louis Girodet de Roussy-Trioson
Danaë
Danaë
Minneapolis
Minneapolis Institute of Art
Minneapolis Institute of Art


section

ダナエに扮するランゲ嬢

nge as Danaë image_file       = Anne-Louis Girodet de Roussy-Trioson - Mademoiselle nge comme Danaé.jpg image_size       = 250px artist           = Anne-Louis Girodet de Roussy-Trioson year             = 1799 medium           = Oil on canvas subject          = Anne Françoise Elisabeth nge height_metric    = 60.33 width_metric     = 48.58 metric_unit      = cm museum           = Minneapolis Institute of Art city             = Minneapolis}}The Portrait of M nge as Danaë is a painting by French painter Anne-Louis Girodet de Roussy-Trioson. This satirical painting of the actress Anne Françoise Elisabeth nge as Danaë replaced a Venus for the last two days of the Paris Salon of 1799, after a dispute between the artist and the sitter.It is now part of the collection of the Minneapolis Institute of Arts.

Prompt: ダナエに扮するランゲ嬢に関して、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。

Anne-Louis Girodet de Roussy-Trioson
Danaë
Danaë
Minneapolis
Minneapolis Institute of Art
Minneapolis Institute of Art


section

ダナエに扮するランゲ嬢

The artist Girodet and Miss nge first crossed paths in the Salon of 1793. Girodet, a student of  Jacques-Louis David would gain notoriety for his submission Endymion. In 1793, Miss nge was already a prominent actress and a sociétaire of the Comédie-Française. Her likeness as Sylvie by Jean-François Gilles Colson is in the same gallery of 1793.Six years later , as a gift to her newlywed husband, Michel-Jean Simons, Madame Simons commissioned a portrait from Girodet, who painted the actress as the Roman goddess Venus. Miss nge disliked the painting so much that in a letter written to the artist, she requested that he remove the painting from the Paris Salon and offered only half of Girodet's asking price. Further, she wrote that his work compromised not only her reputation for beauty but his own as an up-and-coming  artist.Furious, the 32-year old Girodet began work on a new painting of M nge in the guise of Danae. The painting is  deliberately encoded with hidden details about her intimate life, in an effort to defame her. On August 2, 1799,  Girodet exacted his revenge. After destroying the Venus by cutting it up into four pieces, after working on it for 19 days.

Prompt: ダナエに扮するランゲ嬢に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Jacques-Louis David
Jean-François Gilles Colson
Michel-Jean Simons


section

ダナエに扮するランゲ嬢

The artist Girodet and Miss nge first crossed paths in the Salon of 1793. Girodet, a student of  Jacques-Louis David would gain notoriety for his submission Endymion. In 1793, Miss nge was already a prominent actress and a sociétaire of the Comédie-Française. Her likeness as Sylvie by Jean-François Gilles Colson is in the same gallery of 1793.Six years later , as a gift to her newlywed husband, Michel-Jean Simons, Madame Simons commissioned a portrait from Girodet, who painted the actress as the Roman goddess Venus. Miss nge disliked the painting so much that in a letter written to the artist, she requested that he remove the painting from the Paris Salon and offered only half of Girodet's asking price. Further, she wrote that his work compromised not only her reputation for beauty but his own as an up-and-coming  artist.Furious, the 32-year old Girodet began work on a new painting of M nge in the guise of Danae. The painting is  deliberately encoded with hidden details about her intimate life, in an effort to defame her. On August 2, 1799,  Girodet exacted his revenge. After destroying the Venus by cutting it up into four pieces, after working on it for 19 days.

Prompt: ダナエに扮するランゲ嬢の歴史を説明してください。英語で出力して下さい。

Jacques-Louis David
Jean-François Gilles Colson
Michel-Jean Simons


section

ダナエに扮するランゲ嬢

The artist Girodet and Miss nge first crossed paths in the Salon of 1793. Girodet, a student of  Jacques-Louis David would gain notoriety for his submission Endymion. In 1793, Miss nge was already a prominent actress and a sociétaire of the Comédie-Française. Her likeness as Sylvie by Jean-François Gilles Colson is in the same gallery of 1793.Six years later , as a gift to her newlywed husband, Michel-Jean Simons, Madame Simons commissioned a portrait from Girodet, who painted the actress as the Roman goddess Venus. Miss nge disliked the painting so much that in a letter written to the artist, she requested that he remove the painting from the Paris Salon and offered only half of Girodet's asking price. Further, she wrote that his work compromised not only her reputation for beauty but his own as an up-and-coming  artist.Furious, the 32-year old Girodet began work on a new painting of M nge in the guise of Danae. The painting is  deliberately encoded with hidden details about her intimate life, in an effort to defame her. On August 2, 1799,  Girodet exacted his revenge. After destroying the Venus by cutting it up into four pieces, after working on it for 19 days.

Prompt: ダナエに扮するランゲ嬢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。

Jacques-Louis David
Jean-François Gilles Colson
Michel-Jean Simons


section

ダナエに扮するランゲ嬢

The artist Girodet and Miss nge first crossed paths in the Salon of 1793. Girodet, a student of  Jacques-Louis David would gain notoriety for his submission Endymion. In 1793, Miss nge was already a prominent actress and a sociétaire of the Comédie-Française. Her likeness as Sylvie by Jean-François Gilles Colson is in the same gallery of 1793.Six years later , as a gift to her newlywed husband, Michel-Jean Simons, Madame Simons commissioned a portrait from Girodet, who painted the actress as the Roman goddess Venus. Miss nge disliked the painting so much that in a letter written to the artist, she requested that he remove the painting from the Paris Salon and offered only half of Girodet's asking price. Further, she wrote that his work compromised not only her reputation for beauty but his own as an up-and-coming  artist.Furious, the 32-year old Girodet began work on a new painting of M nge in the guise of Danae. The painting is  deliberately encoded with hidden details about her intimate life, in an effort to defame her. On August 2, 1799,  Girodet exacted his revenge. After destroying the Venus by cutting it up into four pieces, after working on it for 19 days.

Prompt: ダナエに扮するランゲ嬢に関して、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。

Jacques-Louis David
Jean-François Gilles Colson
Michel-Jean Simons


section

ダナエに扮するランゲ嬢

Miss nge is depicted gathering gold pieces in a sheet. This common scene from the shower of gold episode associated with Danae was used by Girodet to portray M nge as a greedy person. The winged putto helping her collect gold coins is Palmyre, her daughter from an affair with a banker. She is accompanied by a turkey bearing a wedding ring on its foot. This symbolizes the husband, Simons. There is an infant, representing the son, gathering peacock feathers that are growing from the turkey. The mother and the children have been adorned with headdresses fashioned out of peacock feathers.Two white doves are bound to a scale, each bearing a tin inscription. An allusion to adultery  is found around the neck of the bird that has been crushed to death by one of the gold coins. The other  is written around the neck of the bird that gotten away, suggesting once more that her character is unsteady.In the background, a statue of Abundantia is dimly lit by a small fire that has drawn moths. At the base of the statue is yet another tin expression .Additionally, the four corners of the frame have been decorated with ornate cameo reliefs, each bearing tin phrases or mottos:{ class="wikitable"+ Inscriptions-! Image !! tin !! Source !! English- Mermaid  rowspan=2   Her mirror, now broken and producing no reflection is an attribute of Vanitas used together with the mermaid.On the floor, a scroll of the play ASINARIA COMŒDIA as per PLAVTI is set ablaze upon her sandal.Another lover of Miss nge, removed from her pedestal, is depicted in the shadowy area below Danae's seat. Called a satyr by some scholars, the grimacing head is crowned by vine leaves in the likeness of a wigmaker named after a certain N. Leuthrop. A snail rests upon one of its leaves.  Beauregard is said to have paid a lot amount of money for half a day's worth of her time, which is symbolized with gold coin lodged into the right eye socket of the figure.The foot supporting Miss nge's seat has been splintered, and is stabilized by a brick. A mouse, caught in a trap, is seen next to the face of the illegitimate marquis of Beauregard.

Prompt: ダナエに扮するランゲ嬢に焦点を当てて、その象徴性を説明してください。英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Miss nge is depicted gathering gold pieces in a sheet. This common scene from the shower of gold episode associated with Danae was used by Girodet to portray M nge as a greedy person. The winged putto helping her collect gold coins is Palmyre, her daughter from an affair with a banker. She is accompanied by a turkey bearing a wedding ring on its foot. This symbolizes the husband, Simons. There is an infant, representing the son, gathering peacock feathers that are growing from the turkey. The mother and the children have been adorned with headdresses fashioned out of peacock feathers.Two white doves are bound to a scale, each bearing a tin inscription. An allusion to adultery  is found around the neck of the bird that has been crushed to death by one of the gold coins. The other  is written around the neck of the bird that gotten away, suggesting once more that her character is unsteady.In the background, a statue of Abundantia is dimly lit by a small fire that has drawn moths. At the base of the statue is yet another tin expression .Additionally, the four corners of the frame have been decorated with ornate cameo reliefs, each bearing tin phrases or mottos:{ class="wikitable"+ Inscriptions-! Image !! tin !! Source !! English- Mermaid  rowspan=2   Her mirror, now broken and producing no reflection is an attribute of Vanitas used together with the mermaid.On the floor, a scroll of the play ASINARIA COMŒDIA as per PLAVTI is set ablaze upon her sandal.Another lover of Miss nge, removed from her pedestal, is depicted in the shadowy area below Danae's seat. Called a satyr by some scholars, the grimacing head is crowned by vine leaves in the likeness of a wigmaker named after a certain N. Leuthrop. A snail rests upon one of its leaves.  Beauregard is said to have paid a lot amount of money for half a day's worth of her time, which is symbolized with gold coin lodged into the right eye socket of the figure.The foot supporting Miss nge's seat has been splintered, and is stabilized by a brick. A mouse, caught in a trap, is seen next to the face of the illegitimate marquis of Beauregard.

Prompt: ダナエに扮するランゲ嬢の象徴性を説明してください。英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Miss nge is depicted gathering gold pieces in a sheet. This common scene from the shower of gold episode associated with Danae was used by Girodet to portray M nge as a greedy person. The winged putto helping her collect gold coins is Palmyre, her daughter from an affair with a banker. She is accompanied by a turkey bearing a wedding ring on its foot. This symbolizes the husband, Simons. There is an infant, representing the son, gathering peacock feathers that are growing from the turkey. The mother and the children have been adorned with headdresses fashioned out of peacock feathers.Two white doves are bound to a scale, each bearing a tin inscription. An allusion to adultery  is found around the neck of the bird that has been crushed to death by one of the gold coins. The other  is written around the neck of the bird that gotten away, suggesting once more that her character is unsteady.In the background, a statue of Abundantia is dimly lit by a small fire that has drawn moths. At the base of the statue is yet another tin expression .Additionally, the four corners of the frame have been decorated with ornate cameo reliefs, each bearing tin phrases or mottos:{ class="wikitable"+ Inscriptions-! Image !! tin !! Source !! English- Mermaid  rowspan=2   Her mirror, now broken and producing no reflection is an attribute of Vanitas used together with the mermaid.On the floor, a scroll of the play ASINARIA COMŒDIA as per PLAVTI is set ablaze upon her sandal.Another lover of Miss nge, removed from her pedestal, is depicted in the shadowy area below Danae's seat. Called a satyr by some scholars, the grimacing head is crowned by vine leaves in the likeness of a wigmaker named after a certain N. Leuthrop. A snail rests upon one of its leaves.  Beauregard is said to have paid a lot amount of money for half a day's worth of her time, which is symbolized with gold coin lodged into the right eye socket of the figure.The foot supporting Miss nge's seat has been splintered, and is stabilized by a brick. A mouse, caught in a trap, is seen next to the face of the illegitimate marquis of Beauregard.

Prompt: ダナエに扮するランゲ嬢はどのように象徴性を説明していますか？英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Miss nge is depicted gathering gold pieces in a sheet. This common scene from the shower of gold episode associated with Danae was used by Girodet to portray M nge as a greedy person. The winged putto helping her collect gold coins is Palmyre, her daughter from an affair with a banker. She is accompanied by a turkey bearing a wedding ring on its foot. This symbolizes the husband, Simons. There is an infant, representing the son, gathering peacock feathers that are growing from the turkey. The mother and the children have been adorned with headdresses fashioned out of peacock feathers.Two white doves are bound to a scale, each bearing a tin inscription. An allusion to adultery  is found around the neck of the bird that has been crushed to death by one of the gold coins. The other  is written around the neck of the bird that gotten away, suggesting once more that her character is unsteady.In the background, a statue of Abundantia is dimly lit by a small fire that has drawn moths. At the base of the statue is yet another tin expression .Additionally, the four corners of the frame have been decorated with ornate cameo reliefs, each bearing tin phrases or mottos:{ class="wikitable"+ Inscriptions-! Image !! tin !! Source !! English- Mermaid  rowspan=2   Her mirror, now broken and producing no reflection is an attribute of Vanitas used together with the mermaid.On the floor, a scroll of the play ASINARIA COMŒDIA as per PLAVTI is set ablaze upon her sandal.Another lover of Miss nge, removed from her pedestal, is depicted in the shadowy area below Danae's seat. Called a satyr by some scholars, the grimacing head is crowned by vine leaves in the likeness of a wigmaker named after a certain N. Leuthrop. A snail rests upon one of its leaves.  Beauregard is said to have paid a lot amount of money for half a day's worth of her time, which is symbolized with gold coin lodged into the right eye socket of the figure.The foot supporting Miss nge's seat has been splintered, and is stabilized by a brick. A mouse, caught in a trap, is seen next to the face of the illegitimate marquis of Beauregard.

Prompt: ダナエに扮するランゲ嬢に関して、どのように象徴性が議論されていますか？英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Although Danae was exhibited for just a few days, it was demonstrated at the Louvre during the height of the French Directory. Wishing to be forgotten, Miss nge left France for Italy, where she found a new foothold. Some years later, she returned to France to visit and see how the city had changed. There, she saw a print after Girodet's Danae, to which she remarked  that the painting would make her die of grief. Miss nge remained in Florence until her death in 1816.Girodet himself later expressed remorse over creating the painting, and refused to show it to friends.

Prompt: ダナエに扮するランゲ嬢に焦点を当てて、その影響を説明してください。英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Although Danae was exhibited for just a few days, it was demonstrated at the Louvre during the height of the French Directory. Wishing to be forgotten, Miss nge left France for Italy, where she found a new foothold. Some years later, she returned to France to visit and see how the city had changed. There, she saw a print after Girodet's Danae, to which she remarked  that the painting would make her die of grief. Miss nge remained in Florence until her death in 1816.Girodet himself later expressed remorse over creating the painting, and refused to show it to friends.

Prompt: ダナエに扮するランゲ嬢の影響を説明してください。英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Although Danae was exhibited for just a few days, it was demonstrated at the Louvre during the height of the French Directory. Wishing to be forgotten, Miss nge left France for Italy, where she found a new foothold. Some years later, she returned to France to visit and see how the city had changed. There, she saw a print after Girodet's Danae, to which she remarked  that the painting would make her die of grief. Miss nge remained in Florence until her death in 1816.Girodet himself later expressed remorse over creating the painting, and refused to show it to friends.

Prompt: ダナエに扮するランゲ嬢はどのように影響を説明していますか？英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Although Danae was exhibited for just a few days, it was demonstrated at the Louvre during the height of the French Directory. Wishing to be forgotten, Miss nge left France for Italy, where she found a new foothold. Some years later, she returned to France to visit and see how the city had changed. There, she saw a print after Girodet's Danae, to which she remarked  that the painting would make her die of grief. Miss nge remained in Florence until her death in 1816.Girodet himself later expressed remorse over creating the painting, and refused to show it to friends.

Prompt: ダナエに扮するランゲ嬢に関して、どのように影響が議論されていますか？英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Prompt: ダナエに扮するランゲ嬢に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Prompt: ダナエに扮するランゲ嬢の参照を説明してください。英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Prompt: ダナエに扮するランゲ嬢はどのように参照を説明していますか？英語で出力して下さい。


section

ダナエに扮するランゲ嬢

Prompt: ダナエに扮するランゲ嬢に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

森の中の聖ゲオルギウス

Saint George in the Forest  is an oil painting on parchment, mounted on linden wood by German artist Albrecht Altdorfer, datable to 1510 and held in the Alte Pinakothek in Munich.

Prompt: 森の中の聖ゲオルギウスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Albrecht Altdorfer
Alte Pinakothek
Munich
Saint George


section

森の中の聖ゲオルギウス

Saint George in the Forest  is an oil painting on parchment, mounted on linden wood by German artist Albrecht Altdorfer, datable to 1510 and held in the Alte Pinakothek in Munich.

Prompt: 森の中の聖ゲオルギウスの抽象を説明してください。英語で出力して下さい。

Albrecht Altdorfer
Alte Pinakothek
Munich
Saint George


section

森の中の聖ゲオルギウス

Saint George in the Forest  is an oil painting on parchment, mounted on linden wood by German artist Albrecht Altdorfer, datable to 1510 and held in the Alte Pinakothek in Munich.

Prompt: 森の中の聖ゲオルギウスはどのように抽象を説明していますか？英語で出力して下さい。

Albrecht Altdorfer
Alte Pinakothek
Munich
Saint George


section

森の中の聖ゲオルギウス

Saint George in the Forest  is an oil painting on parchment, mounted on linden wood by German artist Albrecht Altdorfer, datable to 1510 and held in the Alte Pinakothek in Munich.

Prompt: 森の中の聖ゲオルギウスに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Albrecht Altdorfer
Alte Pinakothek
Munich
Saint George


section

森の中の聖ゲオルギウス

The picture shows in the lower quarter the black armored saint on a white horse and next to it a rather inconspicuous red dragon. The horse is frightened of the monster, which George is staring at with his lance lowered. Most of the remaining space is filled with foliage; in the lower right half of the picture, the forest thins out and reveals a landscape with fields and mountains. The small-format picture is painted in oil on parchment; such a combination is quite unusual. Altdorfer uses the Alla Prima technique, known since the 16th century, which dispenses with layered structure, like underpainting and glaze, since only the yellow-green leafy scrolls are painted in the dark and the highlights are heightened.The legendary episode of Saint George on horseback fighting with the dragon appears in this painting in fact more as a pretext, since it's relegated to the lower end of the table, to represent instead the magic of the wooded, harsh, and wild landscape, which evokes an arcane atmosphere full of suggestions, in which the human figures, overturning the traditional relationship, appear small and subordinated to natural forces. The colors are in accordance with the green and brown tones, while a sudden landscape opens in an unusual position, at the bottom right, where the gaze can sweep away towards the mountains that are lost in the distance.

Prompt: 森の中の聖ゲオルギウスに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

森の中の聖ゲオルギウス

The picture shows in the lower quarter the black armored saint on a white horse and next to it a rather inconspicuous red dragon. The horse is frightened of the monster, which George is staring at with his lance lowered. Most of the remaining space is filled with foliage; in the lower right half of the picture, the forest thins out and reveals a landscape with fields and mountains. The small-format picture is painted in oil on parchment; such a combination is quite unusual. Altdorfer uses the Alla Prima technique, known since the 16th century, which dispenses with layered structure, like underpainting and glaze, since only the yellow-green leafy scrolls are painted in the dark and the highlights are heightened.The legendary episode of Saint George on horseback fighting with the dragon appears in this painting in fact more as a pretext, since it's relegated to the lower end of the table, to represent instead the magic of the wooded, harsh, and wild landscape, which evokes an arcane atmosphere full of suggestions, in which the human figures, overturning the traditional relationship, appear small and subordinated to natural forces. The colors are in accordance with the green and brown tones, while a sudden landscape opens in an unusual position, at the bottom right, where the gaze can sweep away towards the mountains that are lost in the distance.

Prompt: 森の中の聖ゲオルギウスの説明を説明してください。英語で出力して下さい。


section

森の中の聖ゲオルギウス

The picture shows in the lower quarter the black armored saint on a white horse and next to it a rather inconspicuous red dragon. The horse is frightened of the monster, which George is staring at with his lance lowered. Most of the remaining space is filled with foliage; in the lower right half of the picture, the forest thins out and reveals a landscape with fields and mountains. The small-format picture is painted in oil on parchment; such a combination is quite unusual. Altdorfer uses the Alla Prima technique, known since the 16th century, which dispenses with layered structure, like underpainting and glaze, since only the yellow-green leafy scrolls are painted in the dark and the highlights are heightened.The legendary episode of Saint George on horseback fighting with the dragon appears in this painting in fact more as a pretext, since it's relegated to the lower end of the table, to represent instead the magic of the wooded, harsh, and wild landscape, which evokes an arcane atmosphere full of suggestions, in which the human figures, overturning the traditional relationship, appear small and subordinated to natural forces. The colors are in accordance with the green and brown tones, while a sudden landscape opens in an unusual position, at the bottom right, where the gaze can sweep away towards the mountains that are lost in the distance.

Prompt: 森の中の聖ゲオルギウスはどのように説明を説明していますか？英語で出力して下さい。


section

森の中の聖ゲオルギウス

The picture shows in the lower quarter the black armored saint on a white horse and next to it a rather inconspicuous red dragon. The horse is frightened of the monster, which George is staring at with his lance lowered. Most of the remaining space is filled with foliage; in the lower right half of the picture, the forest thins out and reveals a landscape with fields and mountains. The small-format picture is painted in oil on parchment; such a combination is quite unusual. Altdorfer uses the Alla Prima technique, known since the 16th century, which dispenses with layered structure, like underpainting and glaze, since only the yellow-green leafy scrolls are painted in the dark and the highlights are heightened.The legendary episode of Saint George on horseback fighting with the dragon appears in this painting in fact more as a pretext, since it's relegated to the lower end of the table, to represent instead the magic of the wooded, harsh, and wild landscape, which evokes an arcane atmosphere full of suggestions, in which the human figures, overturning the traditional relationship, appear small and subordinated to natural forces. The colors are in accordance with the green and brown tones, while a sudden landscape opens in an unusual position, at the bottom right, where the gaze can sweep away towards the mountains that are lost in the distance.

Prompt: 森の中の聖ゲオルギウスに関して、どのように説明が議論されていますか？英語で出力して下さい。


section

森の中の聖ゲオルギウス

List of landscapes by Albrecht Altdorfer

Prompt: 森の中の聖ゲオルギウスに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

森の中の聖ゲオルギウス

List of landscapes by Albrecht Altdorfer

Prompt: 森の中の聖ゲオルギウスの参照を説明してください。英語で出力して下さい。


section

森の中の聖ゲオルギウス

List of landscapes by Albrecht Altdorfer

Prompt: 森の中の聖ゲオルギウスはどのように参照を説明していますか？英語で出力して下さい。


section

森の中の聖ゲオルギウス

List of landscapes by Albrecht Altdorfer

Prompt: 森の中の聖ゲオルギウスに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

箕をふるう人

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Prompt: 箕をふるう人に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Jean-François Millet
London
Louvre
Musée d'Orsay
National Gallery
Paris


section

箕をふるう人

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Prompt: 箕をふるう人の抽象を説明してください。英語で出力して下さい。

Jean-François Millet
London
Louvre
Musée d'Orsay
National Gallery
Paris


section

箕をふるう人

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Prompt: 箕をふるう人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。

Jean-François Millet
London
Louvre
Musée d'Orsay
National Gallery
Paris


section

箕をふるう人

The Winnower is the title of three oil on canvas paintings by French artist Jean-François Millet, created between 1847 and 1848. The first, now held at the National Gallery, in London, was painted in 1847-1848, and presented at the Salon of 1848. Subsequently, Millet created two other versions, one kept at the Louvre Museum, in Paris, much smaller than the original, and the other at the Musée d'Orsay, also in Paris.

Prompt: 箕をふるう人に関して、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。

Jean-François Millet
London
Louvre
Musée d'Orsay
National Gallery
Paris


section

箕をふるう人

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Prompt: 箕をふるう人に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

箕をふるう人

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Prompt: 箕をふるう人の歴史を説明してください。英語で出力して下さい。


section

箕をふるう人

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Prompt: 箕をふるう人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。


section

箕をふるう人

The first version of The Winnower was presented in the Grand Salon during the Salon of 1848, at the same time as The Captivity of the Jews of Babylon. If this work, as an history painting, was intended to attract buyers, the first marked Millet's entry into a new genre: the painting of peasant daily life. Indeed, with this representation of a winnower, Millet turns away from his literary and artistic references to offer works directly inspired by the peasant life, a vein that he will pursue from 1849 by settling in Barbizon. Furthermore Millet also produced at least two other versions of the work. The first, much smaller, is on display at the Louvre Museum, and the second is at the Musée d'Orsay.

Prompt: 箕をふるう人に関して、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。


section

箕をふるう人

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Prompt: 箕をふるう人に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

箕をふるう人

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Prompt: 箕をふるう人の説明を説明してください。英語で出力して下さい。


section

箕をふるう人

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Prompt: 箕をふるう人はどのように説明を説明していますか？英語で出力して下さい。


section

箕をふるう人

This series indeed represents each time a winnower, dressed in his working clothes and with clogs on his feet, who, using a van, blows up the grain to separate it from the straw. An evolution in the representation is however notable in the three paintings. The winnower indeed seems to recover from one version to another.Be that as it may, The Winnower like Millet's other figures, gleaners, shepherdesses, ploughmen, etc, is much more the representation of a type than of an individual person. Millet wanted above all to create “syntheses” as he called them. The appearance of these peasant subject in Millet's work may have been favored by the socialist climate that reigned around the Revolution of 1848, even if Millet did not participate in it and refused to be called a "socialist".

Prompt: 箕をふるう人に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

箕をふるう人

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Prompt: 箕をふるう人に焦点を当てて、その受付を説明してください。英語で出力して下さい。

Dresden
Gustave Courbet
The Stone Breakers
Théophile Gautier


section

箕をふるう人

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Prompt: 箕をふるう人の受付を説明してください。英語で出力して下さい。

Dresden
Gustave Courbet
The Stone Breakers
Théophile Gautier


section

箕をふるう人

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Prompt: 箕をふるう人はどのように受付を説明していますか？英語で出力して下さい。

Dresden
Gustave Courbet
The Stone Breakers
Théophile Gautier


section

箕をふるう人

Writer Théophile Gautier in his work about the Salon de 1848 described this painting thus: “It is impossible to see anything rougher, more fierce, more bristling, more uncultivated; well! this mortar, this thick mess to retain the brush, is of excellent locality, of a fine and warm tone when one steps back three paces. This winnower who raises his van with his ragged knee, and raises into the air, in the middle of a column of golden dust, the grain of his basket, arches his back in the most masterly manner." He also adds that "M. Millet's painting has everything it takes to exasperate the bourgeois with hairless chins", a remark which explains the interest that the Republicans found in this work.This painting, presented at the Salon of 1848, stood out among the 5000 other works exhibited that year, and was bought for 500 francs by Alexandre-Ledru-Rollin, Minister of the Provisional Government.Its importance is all the greater as it notably inspired Gustave Courbet for his painting The Stone Breakers, made in 1849, which was destroyed during the bombardment of Dresden in 1945.

Prompt: 箕をふるう人に関して、どのように受付が議論されていますか？英語で出力して下さい。

Dresden
Gustave Courbet
The Stone Breakers
Théophile Gautier


section

聖フロリアヌスの殉教

The Martyrdom of Saint Florian is an oil-on-panel painting executed  c.1518–1520 by the German artist Albrecht Altdorfer, signed with his "A in A" monogram on a post of the bridge on the right. It and the artist's Saint Florian Taking Leave of the Monastery were in the Spannocchi collection of the Pinacoteca nazionale di Siena until 1914, when they were both transferred to their present home in the Uffizi in Florence to strengthen the latter's holdings on the Northern Renaissance.

Prompt: 聖フロリアヌスの殉教に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

聖フロリアヌスの殉教

The Martyrdom of Saint Florian is an oil-on-panel painting executed  c.1518–1520 by the German artist Albrecht Altdorfer, signed with his "A in A" monogram on a post of the bridge on the right. It and the artist's Saint Florian Taking Leave of the Monastery were in the Spannocchi collection of the Pinacoteca nazionale di Siena until 1914, when they were both transferred to their present home in the Uffizi in Florence to strengthen the latter's holdings on the Northern Renaissance.

Prompt: 聖フロリアヌスの殉教の抽象を説明してください。英語で出力して下さい。


section

聖フロリアヌスの殉教

The Martyrdom of Saint Florian is an oil-on-panel painting executed  c.1518–1520 by the German artist Albrecht Altdorfer, signed with his "A in A" monogram on a post of the bridge on the right. It and the artist's Saint Florian Taking Leave of the Monastery were in the Spannocchi collection of the Pinacoteca nazionale di Siena until 1914, when they were both transferred to their present home in the Uffizi in Florence to strengthen the latter's holdings on the Northern Renaissance.

Prompt: 聖フロリアヌスの殉教はどのように抽象を説明していますか？英語で出力して下さい。


section

聖フロリアヌスの殉教

The Martyrdom of Saint Florian is an oil-on-panel painting executed  c.1518–1520 by the German artist Albrecht Altdorfer, signed with his "A in A" monogram on a post of the bridge on the right. It and the artist's Saint Florian Taking Leave of the Monastery were in the Spannocchi collection of the Pinacoteca nazionale di Siena until 1914, when they were both transferred to their present home in the Uffizi in Florence to strengthen the latter's holdings on the Northern Renaissance.

Prompt: 聖フロリアヌスの殉教に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

聖フロリアヌスの殉教

They originally formed part of a series of works by him on the life of the Austrian saint Florian, perhaps originally housed in a revolving frame – three others are now in the Germanisches Nationalmuseum in Nuremberg  along with one each in the National Gallery Prague  and a private collection in Berlin. Together they probably resembled the Saint Sebastian and his Martyrdom Altarpiece painted by Altdorfer in Regensburg for Linz Collegiate Church around 1518 and may have hung in another church in Linz, perhaps that dedicated to Saint John.

Prompt: 聖フロリアヌスの殉教に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Germanisches Nationalmuseum
National Gallery Prague
Regensburg


section

聖フロリアヌスの殉教

They originally formed part of a series of works by him on the life of the Austrian saint Florian, perhaps originally housed in a revolving frame – three others are now in the Germanisches Nationalmuseum in Nuremberg  along with one each in the National Gallery Prague  and a private collection in Berlin. Together they probably resembled the Saint Sebastian and his Martyrdom Altarpiece painted by Altdorfer in Regensburg for Linz Collegiate Church around 1518 and may have hung in another church in Linz, perhaps that dedicated to Saint John.

Prompt: 聖フロリアヌスの殉教の歴史を説明してください。英語で出力して下さい。

Germanisches Nationalmuseum
National Gallery Prague
Regensburg


section

聖フロリアヌスの殉教

They originally formed part of a series of works by him on the life of the Austrian saint Florian, perhaps originally housed in a revolving frame – three others are now in the Germanisches Nationalmuseum in Nuremberg  along with one each in the National Gallery Prague  and a private collection in Berlin. Together they probably resembled the Saint Sebastian and his Martyrdom Altarpiece painted by Altdorfer in Regensburg for Linz Collegiate Church around 1518 and may have hung in another church in Linz, perhaps that dedicated to Saint John.

Prompt: 聖フロリアヌスの殉教はどのように歴史を説明していますか？英語で出力して下さい。

Germanisches Nationalmuseum
National Gallery Prague
Regensburg


section

聖フロリアヌスの殉教

They originally formed part of a series of works by him on the life of the Austrian saint Florian, perhaps originally housed in a revolving frame – three others are now in the Germanisches Nationalmuseum in Nuremberg  along with one each in the National Gallery Prague  and a private collection in Berlin. Together they probably resembled the Saint Sebastian and his Martyrdom Altarpiece painted by Altdorfer in Regensburg for Linz Collegiate Church around 1518 and may have hung in another church in Linz, perhaps that dedicated to Saint John.

Prompt: 聖フロリアヌスの殉教に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Germanisches Nationalmuseum
National Gallery Prague
Regensburg


section

聖フロリアヌスの殉教

Saint Florian was a Roman soldier from Enns, who, having defended the Christians of Upper Austria, in 304, was martyred by means of a grindstone tied around his neck and thrown with him into the river Inn.Behind Florian, young, naked and kneeling, is the group of torturers and simple onlookers, and the large grindstone tied to his neck is in front of him. His serene acceptance of martyrdom contrasts with the excited and distorted faces of the other characters, which effectively bring out his sanctity. Below the bridge, a beautiful river landscape is depicted.

Prompt: 聖フロリアヌスの殉教に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

聖フロリアヌスの殉教

Saint Florian was a Roman soldier from Enns, who, having defended the Christians of Upper Austria, in 304, was martyred by means of a grindstone tied around his neck and thrown with him into the river Inn.Behind Florian, young, naked and kneeling, is the group of torturers and simple onlookers, and the large grindstone tied to his neck is in front of him. His serene acceptance of martyrdom contrasts with the excited and distorted faces of the other characters, which effectively bring out his sanctity. Below the bridge, a beautiful river landscape is depicted.

Prompt: 聖フロリアヌスの殉教の説明を説明してください。英語で出力して下さい。


section

聖フロリアヌスの殉教

Saint Florian was a Roman soldier from Enns, who, having defended the Christians of Upper Austria, in 304, was martyred by means of a grindstone tied around his neck and thrown with him into the river Inn.Behind Florian, young, naked and kneeling, is the group of torturers and simple onlookers, and the large grindstone tied to his neck is in front of him. His serene acceptance of martyrdom contrasts with the excited and distorted faces of the other characters, which effectively bring out his sanctity. Below the bridge, a beautiful river landscape is depicted.

Prompt: 聖フロリアヌスの殉教はどのように説明を説明していますか？英語で出力して下さい。


section

聖フロリアヌスの殉教

Saint Florian was a Roman soldier from Enns, who, having defended the Christians of Upper Austria, in 304, was martyred by means of a grindstone tied around his neck and thrown with him into the river Inn.Behind Florian, young, naked and kneeling, is the group of torturers and simple onlookers, and the large grindstone tied to his neck is in front of him. His serene acceptance of martyrdom contrasts with the excited and distorted faces of the other characters, which effectively bring out his sanctity. Below the bridge, a beautiful river landscape is depicted.

Prompt: 聖フロリアヌスの殉教に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

聖フロリアヌスの殉教

List of landscapes by Albrecht Altdorfer

Prompt: 聖フロリアヌスの殉教に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

聖フロリアヌスの殉教

List of landscapes by Albrecht Altdorfer

Prompt: 聖フロリアヌスの殉教の参照を説明してください。英語で出力して下さい。


section

聖フロリアヌスの殉教

List of landscapes by Albrecht Altdorfer

Prompt: 聖フロリアヌスの殉教はどのように参照を説明していますか？英語で出力して下さい。


section

聖フロリアヌスの殉教

List of landscapes by Albrecht Altdorfer

Prompt: 聖フロリアヌスの殉教に関して、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。