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美徳と悪徳の間の選択

The Choice Between Virtue and Vice and Wisdom and Strength have traveled together since their creation, through many prestigious owners and collections. Because of this, many scholars assumed that Veronese painted them as a pair. In 1970, Edgar Munhall was the first scholar to suggest that they were simply made at the same time, not as pendants. Work undertaken by scholars at the Metropolitan Museum of Art in the 2000s confirmed that the two were made individually.From its creation in Venice, this painting traveled through the hands of Emperor Rudolph II of the Holy Roman Empire, Queen Christina of Sweden, the Odesalchi family, the famous Orleans collection of Philippe II, Duke of Orleans, and then through the hands of various Englishmen and art dealers before arriving at its current home in the Frick Collection.

Prompt: 美徳と悪徳の間の選択はどのように起源を説明していますか？英語で出力して下さい。

Frick Collection
Metropolitan Museum of Art
Venice
Vice
Virtue


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美徳と悪徳の間の選択

The Choice Between Virtue and Vice and Wisdom and Strength have traveled together since their creation, through many prestigious owners and collections. Because of this, many scholars assumed that Veronese painted them as a pair. In 1970, Edgar Munhall was the first scholar to suggest that they were simply made at the same time, not as pendants. Work undertaken by scholars at the Metropolitan Museum of Art in the 2000s confirmed that the two were made individually.From its creation in Venice, this painting traveled through the hands of Emperor Rudolph II of the Holy Roman Empire, Queen Christina of Sweden, the Odesalchi family, the famous Orleans collection of Philippe II, Duke of Orleans, and then through the hands of various Englishmen and art dealers before arriving at its current home in the Frick Collection.

Prompt: 美徳と悪徳の間の選択に関して、どのように起源が議論されていますか？英語で出力して下さい。

Frick Collection
Metropolitan Museum of Art
Venice
Vice
Virtue


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美徳と悪徳の間の選択

Rosand, David, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto, 2nd ed 1997, Cambridge UP

Prompt: 美徳と悪徳の間の選択に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


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美徳と悪徳の間の選択

Rosand, David, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto, 2nd ed 1997, Cambridge UP

Prompt: 美徳と悪徳の間の選択のさらなる読書を説明してください。英語で出力して下さい。


section

美徳と悪徳の間の選択

Rosand, David, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto, 2nd ed 1997, Cambridge UP

Prompt: 美徳と悪徳の間の選択はどのようにさらなる読書を説明していますか？英語で出力して下さい。


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美徳と悪徳の間の選択

Rosand, David, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto, 2nd ed 1997, Cambridge UP

Prompt: 美徳と悪徳の間の選択に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


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四聖人の殉教

The Martyrdom of Four Saints is an oil on canvas painting by the  Italian Renaissance artist Correggio, dating from around  1524  and housed in the Galleria Nazionale of Parma, Italy.

Prompt: 四聖人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。


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四聖人の殉教

The Martyrdom of Four Saints is an oil on canvas painting by the  Italian Renaissance artist Correggio, dating from around  1524  and housed in the Galleria Nazionale of Parma, Italy.

Prompt: 四聖人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

四聖人の殉教

The Martyrdom of Four Saints is an oil on canvas painting by the  Italian Renaissance artist Correggio, dating from around  1524  and housed in the Galleria Nazionale of Parma, Italy.

Prompt: 四聖人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

四聖人の殉教

The Martyrdom of Four Saints is an oil on canvas painting by the  Italian Renaissance artist Correggio, dating from around  1524  and housed in the Galleria Nazionale of Parma, Italy.

Prompt: 四聖人の殉教に関して、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。


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四聖人の殉教

The work is one of the canvasses commissioned by Parmesan noble Placido Del Bono for a chapel in the church of San Giovanni Evangelista in Parma. They are mentioned  by late Renaissance art biographer Giorgio Vasari in the first edition of his Lives .The subject of the painting, rather rare in western religious art, is the martyrdom of Placidus and his sister Flavia  and, behind them, that of two earlier Roman siblings, Eutychius and Victorinus, who appear to have been already beheaded. An angel flies above them and holds the palm of martyrdom.

Prompt: 四聖人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。


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四聖人の殉教

The work is one of the canvasses commissioned by Parmesan noble Placido Del Bono for a chapel in the church of San Giovanni Evangelista in Parma. They are mentioned  by late Renaissance art biographer Giorgio Vasari in the first edition of his Lives .The subject of the painting, rather rare in western religious art, is the martyrdom of Placidus and his sister Flavia  and, behind them, that of two earlier Roman siblings, Eutychius and Victorinus, who appear to have been already beheaded. An angel flies above them and holds the palm of martyrdom.

Prompt: 四聖人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。


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四聖人の殉教

The work is one of the canvasses commissioned by Parmesan noble Placido Del Bono for a chapel in the church of San Giovanni Evangelista in Parma. They are mentioned  by late Renaissance art biographer Giorgio Vasari in the first edition of his Lives .The subject of the painting, rather rare in western religious art, is the martyrdom of Placidus and his sister Flavia  and, behind them, that of two earlier Roman siblings, Eutychius and Victorinus, who appear to have been already beheaded. An angel flies above them and holds the palm of martyrdom.

Prompt: 四聖人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。


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四聖人の殉教

The work is one of the canvasses commissioned by Parmesan noble Placido Del Bono for a chapel in the church of San Giovanni Evangelista in Parma. They are mentioned  by late Renaissance art biographer Giorgio Vasari in the first edition of his Lives .The subject of the painting, rather rare in western religious art, is the martyrdom of Placidus and his sister Flavia  and, behind them, that of two earlier Roman siblings, Eutychius and Victorinus, who appear to have been already beheaded. An angel flies above them and holds the palm of martyrdom.

Prompt: 四聖人の殉教に関して、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。


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弓を削るキューピッド

Cupid Making His Bow  is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum,  Vienna, Austria.

Prompt: 弓を削るキューピッドに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Austria
Kunsthistorisches Museum
Parmigianino
Renaissance
Vienna


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弓を削るキューピッド

Cupid Making His Bow  is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum,  Vienna, Austria.

Prompt: 弓を削るキューピッドの抽象を説明してください。英語で出力して下さい。

Austria
Kunsthistorisches Museum
Parmigianino
Renaissance
Vienna


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弓を削るキューピッド

Cupid Making His Bow  is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum,  Vienna, Austria.

Prompt: 弓を削るキューピッド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。

Austria
Kunsthistorisches Museum
Parmigianino
Renaissance
Vienna


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弓を削るキューピッド

Cupid Making His Bow  is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum,  Vienna, Austria.

Prompt: 弓を削るキューピッドに関して、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。

Austria
Kunsthistorisches Museum
Parmigianino
Renaissance
Vienna


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弓を削るキューピッド

The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of  Parmigianino. te Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the  Cupido che fabbrica di sua mano un arco.The painting was inherited by  Marcantonio Cavalca and later went to  Antonio Pérez, secretary of state of Philip II of Spain, who brought it with him to Spain. In 1579 Pérez fell in disgrace, and was forced to sell the painting to an envoy of emperor Rudolf II, Holy Roman Emperor. It was however blocked by the Spanish crown, and could be acquired and arrive to Prague, together with Correggio's Jupiter and Io  and Ganymede Abducted by the Eagle, in 1603. It was transferred to Vienna's Schatzkammer in 1631.A preparatory drawing for Cupid's head is in the Cabinet des Dessins of the Louvre . The work was frequently copied and used as a model by numerous artists. There are copies by Joseph Heintz the Elder and Rubens in the Alte Pinakothek of Munich.

Prompt: 弓を削るキューピッドに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Alte Pinakothek
Cabinet des Dessins
Ganymede Abducted by the Eagle
Giorgio Vasari
Joseph Heintz the Elder
Jupiter and Io
Louvre
Munich
Parma
Parmigianino
Philip II of Spain
Prague
Renaissance
Rudolf II, Holy Roman Emperor
Spain
Vienna


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弓を削るキューピッド

The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of  Parmigianino. te Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the  Cupido che fabbrica di sua mano un arco.The painting was inherited by  Marcantonio Cavalca and later went to  Antonio Pérez, secretary of state of Philip II of Spain, who brought it with him to Spain. In 1579 Pérez fell in disgrace, and was forced to sell the painting to an envoy of emperor Rudolf II, Holy Roman Emperor. It was however blocked by the Spanish crown, and could be acquired and arrive to Prague, together with Correggio's Jupiter and Io  and Ganymede Abducted by the Eagle, in 1603. It was transferred to Vienna's Schatzkammer in 1631.A preparatory drawing for Cupid's head is in the Cabinet des Dessins of the Louvre . The work was frequently copied and used as a model by numerous artists. There are copies by Joseph Heintz the Elder and Rubens in the Alte Pinakothek of Munich.

Prompt: 弓を削るキューピッドの歴史を説明してください。英語で出力して下さい。

Alte Pinakothek
Cabinet des Dessins
Ganymede Abducted by the Eagle
Giorgio Vasari
Joseph Heintz the Elder
Jupiter and Io
Louvre
Munich
Parma
Parmigianino
Philip II of Spain
Prague
Renaissance
Rudolf II, Holy Roman Emperor
Spain
Vienna


section

弓を削るキューピッド

The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of  Parmigianino. te Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the  Cupido che fabbrica di sua mano un arco.The painting was inherited by  Marcantonio Cavalca and later went to  Antonio Pérez, secretary of state of Philip II of Spain, who brought it with him to Spain. In 1579 Pérez fell in disgrace, and was forced to sell the painting to an envoy of emperor Rudolf II, Holy Roman Emperor. It was however blocked by the Spanish crown, and could be acquired and arrive to Prague, together with Correggio's Jupiter and Io  and Ganymede Abducted by the Eagle, in 1603. It was transferred to Vienna's Schatzkammer in 1631.A preparatory drawing for Cupid's head is in the Cabinet des Dessins of the Louvre . The work was frequently copied and used as a model by numerous artists. There are copies by Joseph Heintz the Elder and Rubens in the Alte Pinakothek of Munich.

Prompt: 弓を削るキューピッド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。

Alte Pinakothek
Cabinet des Dessins
Ganymede Abducted by the Eagle
Giorgio Vasari
Joseph Heintz the Elder
Jupiter and Io
Louvre
Munich
Parma
Parmigianino
Philip II of Spain
Prague
Renaissance
Rudolf II, Holy Roman Emperor
Spain
Vienna


section

弓を削るキューピッド

The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of  Parmigianino. te Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the  Cupido che fabbrica di sua mano un arco.The painting was inherited by  Marcantonio Cavalca and later went to  Antonio Pérez, secretary of state of Philip II of Spain, who brought it with him to Spain. In 1579 Pérez fell in disgrace, and was forced to sell the painting to an envoy of emperor Rudolf II, Holy Roman Emperor. It was however blocked by the Spanish crown, and could be acquired and arrive to Prague, together with Correggio's Jupiter and Io  and Ganymede Abducted by the Eagle, in 1603. It was transferred to Vienna's Schatzkammer in 1631.A preparatory drawing for Cupid's head is in the Cabinet des Dessins of the Louvre . The work was frequently copied and used as a model by numerous artists. There are copies by Joseph Heintz the Elder and Rubens in the Alte Pinakothek of Munich.

Prompt: 弓を削るキューピッドに関して、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。

Alte Pinakothek
Cabinet des Dessins
Ganymede Abducted by the Eagle
Giorgio Vasari
Joseph Heintz the Elder
Jupiter and Io
Louvre
Munich
Parma
Parmigianino
Philip II of Spain
Prague
Renaissance
Rudolf II, Holy Roman Emperor
Spain
Vienna


section

弓を削るキューピッド

Prompt: 弓を削るキューピッドに焦点を当てて、その参照を説明してください。英語で出力して下さい。


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弓を削るキューピッド

Prompt: 弓を削るキューピッドの参照を説明してください。英語で出力して下さい。


section

弓を削るキューピッド

Prompt: 弓を削るキューピッド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

弓を削るキューピッド

Prompt: 弓を削るキューピッドに関して、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。


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凸面鏡の自画像

type=Oil on convex panel diameter_metric=24.4 metric_unit=cm imperial_unit=in museum= Kunsthistorisches Museum}}Self-portrait in a Convex Mirror  is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria.

Prompt: 凸面鏡の自画像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Kunsthistorisches Museum
Parmigianino
Renaissance
Self-portrait


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凸面鏡の自画像

type=Oil on convex panel diameter_metric=24.4 metric_unit=cm imperial_unit=in museum= Kunsthistorisches Museum}}Self-portrait in a Convex Mirror  is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria.

Prompt: 凸面鏡の自画像の抽象を説明してください。英語で出力して下さい。

Kunsthistorisches Museum
Parmigianino
Renaissance
Self-portrait


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凸面鏡の自画像

type=Oil on convex panel diameter_metric=24.4 metric_unit=cm imperial_unit=in museum= Kunsthistorisches Museum}}Self-portrait in a Convex Mirror  is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria.

Prompt: 凸面鏡の自画像はどのように抽象を説明していますか？英語で出力して下さい。

Kunsthistorisches Museum
Parmigianino
Renaissance
Self-portrait


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凸面鏡の自画像

type=Oil on convex panel diameter_metric=24.4 metric_unit=cm imperial_unit=in museum= Kunsthistorisches Museum}}Self-portrait in a Convex Mirror  is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria.

Prompt: 凸面鏡の自画像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Kunsthistorisches Museum
Parmigianino
Renaissance
Self-portrait


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凸面鏡の自画像

The work is mentioned by te Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers.The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then still a child, saw it. It was later acquired by Vicentine sculptor Valerio Belli and, after his death in 1546, by his son Elio. Through the intercession of Andrea Palladio, in 1560 the work went to Venetian sculptor Alessandro Vittoria, who bequeathed it to emperor Rudolf II. It arrived in Prague in 1608, and later it became part of the Habsburg imperial collections in Vienna , although attributed to Correggio.

Prompt: 凸面鏡の自画像に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Alessandro Vittoria
Andrea Palladio
Giorgio Vasari
Parmigianino
Pietro Aretino
Prague
Renaissance
Valerio Belli


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凸面鏡の自画像

The work is mentioned by te Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers.The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then still a child, saw it. It was later acquired by Vicentine sculptor Valerio Belli and, after his death in 1546, by his son Elio. Through the intercession of Andrea Palladio, in 1560 the work went to Venetian sculptor Alessandro Vittoria, who bequeathed it to emperor Rudolf II. It arrived in Prague in 1608, and later it became part of the Habsburg imperial collections in Vienna , although attributed to Correggio.

Prompt: 凸面鏡の自画像の歴史を説明してください。英語で出力して下さい。

Alessandro Vittoria
Andrea Palladio
Giorgio Vasari
Parmigianino
Pietro Aretino
Prague
Renaissance
Valerio Belli


section

凸面鏡の自画像

The work is mentioned by te Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers.The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then still a child, saw it. It was later acquired by Vicentine sculptor Valerio Belli and, after his death in 1546, by his son Elio. Through the intercession of Andrea Palladio, in 1560 the work went to Venetian sculptor Alessandro Vittoria, who bequeathed it to emperor Rudolf II. It arrived in Prague in 1608, and later it became part of the Habsburg imperial collections in Vienna , although attributed to Correggio.

Prompt: 凸面鏡の自画像はどのように歴史を説明していますか？英語で出力して下さい。

Alessandro Vittoria
Andrea Palladio
Giorgio Vasari
Parmigianino
Pietro Aretino
Prague
Renaissance
Valerio Belli


section

凸面鏡の自画像

The work is mentioned by te Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers.The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then still a child, saw it. It was later acquired by Vicentine sculptor Valerio Belli and, after his death in 1546, by his son Elio. Through the intercession of Andrea Palladio, in 1560 the work went to Venetian sculptor Alessandro Vittoria, who bequeathed it to emperor Rudolf II. It arrived in Prague in 1608, and later it became part of the Habsburg imperial collections in Vienna , although attributed to Correggio.

Prompt: 凸面鏡の自画像に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Alessandro Vittoria
Andrea Palladio
Giorgio Vasari
Parmigianino
Pietro Aretino
Prague
Renaissance
Valerio Belli


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凸面鏡の自画像

The painting depicts the young artist   in the middle of a room, distorted by the use of a convex mirror. The hand in the foreground is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used.

Prompt: 凸面鏡の自画像に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

凸面鏡の自画像

The painting depicts the young artist   in the middle of a room, distorted by the use of a convex mirror. The hand in the foreground is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used.

Prompt: 凸面鏡の自画像の説明を説明してください。英語で出力して下さい。


section

凸面鏡の自画像

The painting depicts the young artist   in the middle of a room, distorted by the use of a convex mirror. The hand in the foreground is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used.

Prompt: 凸面鏡の自画像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

凸面鏡の自画像

The painting depicts the young artist   in the middle of a room, distorted by the use of a convex mirror. The hand in the foreground is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used.

Prompt: 凸面鏡の自画像に関して、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

凸面鏡の自画像

Self-portraitSelf-Portrait in a Convex Mirror by John Ashbery: the portrait is the subject of a long poem in a poetry collection by Ashbery, both the poem and the collection of the same name. The book won all three of the major prizes awarded to collections by American poets.

Prompt: 凸面鏡の自画像に焦点を当てて、その参照を説明してください。英語で出力して下さい。


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凸面鏡の自画像

Self-portraitSelf-Portrait in a Convex Mirror by John Ashbery: the portrait is the subject of a long poem in a poetry collection by Ashbery, both the poem and the collection of the same name. The book won all three of the major prizes awarded to collections by American poets.

Prompt: 凸面鏡の自画像の参照を説明してください。英語で出力して下さい。


section

凸面鏡の自画像

Self-portraitSelf-Portrait in a Convex Mirror by John Ashbery: the portrait is the subject of a long poem in a poetry collection by Ashbery, both the poem and the collection of the same name. The book won all three of the major prizes awarded to collections by American poets.

Prompt: 凸面鏡の自画像はどのように参照を説明していますか？英語で出力して下さい。


section

凸面鏡の自画像

Self-portraitSelf-Portrait in a Convex Mirror by John Ashbery: the portrait is the subject of a long poem in a poetry collection by Ashbery, both the poem and the collection of the same name. The book won all three of the major prizes awarded to collections by American poets.

Prompt: 凸面鏡の自画像に関して、どのように参照が議論されていますか？英語で出力して下さい。


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グアリーノの聖母

The Gualino Madonna is a painting attributed to Italian late medieval artist Duccio di Buoninsegna. It is housed in the Galleria Sabauda of Turin, northern Italy.

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


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グアリーノの聖母

The Gualino Madonna is a painting attributed to Italian late medieval artist Duccio di Buoninsegna. It is housed in the Galleria Sabauda of Turin, northern Italy.

Prompt: グアリーノの聖母の抽象を説明してください。英語で出力して下さい。


section

グアリーノの聖母

The Gualino Madonna is a painting attributed to Italian late medieval artist Duccio di Buoninsegna. It is housed in the Galleria Sabauda of Turin, northern Italy.

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


section

グアリーノの聖母

The Gualino Madonna is a painting attributed to Italian late medieval artist Duccio di Buoninsegna. It is housed in the Galleria Sabauda of Turin, northern Italy.

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


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グアリーノの聖母

The provenance of the panel is unknown. In 1910 it was sold on the Florence antiquary market covered by a 16th-century repainting, which was removed in 1920. In 1925 it was acquired by the Turinese entrepreneur and collector Riccardo Gualino who, in 1930, gave it to the Galleria Sabauda. In 1933-1959 it was in London, after which it returned to the Turinese museum.The work is not signed, and has been attributed, among the others, to Cimabue. Now it is unanimously assigned to Duccio, belonging to his early career, when he was influenced by Cimabue.

Prompt: グアリーノの聖母に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Cimabue
Duccio
Duccio
Galleria Sabauda
Riccardo Gualino
Turin


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グアリーノの聖母

The provenance of the panel is unknown. In 1910 it was sold on the Florence antiquary market covered by a 16th-century repainting, which was removed in 1920. In 1925 it was acquired by the Turinese entrepreneur and collector Riccardo Gualino who, in 1930, gave it to the Galleria Sabauda. In 1933-1959 it was in London, after which it returned to the Turinese museum.The work is not signed, and has been attributed, among the others, to Cimabue. Now it is unanimously assigned to Duccio, belonging to his early career, when he was influenced by Cimabue.

Prompt: グアリーノの聖母の歴史を説明してください。英語で出力して下さい。

Cimabue
Duccio
Duccio
Galleria Sabauda
Riccardo Gualino
Turin


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グアリーノの聖母

The provenance of the panel is unknown. In 1910 it was sold on the Florence antiquary market covered by a 16th-century repainting, which was removed in 1920. In 1925 it was acquired by the Turinese entrepreneur and collector Riccardo Gualino who, in 1930, gave it to the Galleria Sabauda. In 1933-1959 it was in London, after which it returned to the Turinese museum.The work is not signed, and has been attributed, among the others, to Cimabue. Now it is unanimously assigned to Duccio, belonging to his early career, when he was influenced by Cimabue.

Prompt: グアリーノの聖母はどのように歴史を説明していますか？英語で出力して下さい。

Cimabue
Duccio
Duccio
Galleria Sabauda
Riccardo Gualino
Turin


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グアリーノの聖母

The provenance of the panel is unknown. In 1910 it was sold on the Florence antiquary market covered by a 16th-century repainting, which was removed in 1920. In 1925 it was acquired by the Turinese entrepreneur and collector Riccardo Gualino who, in 1930, gave it to the Galleria Sabauda. In 1933-1959 it was in London, after which it returned to the Turinese museum.The work is not signed, and has been attributed, among the others, to Cimabue. Now it is unanimously assigned to Duccio, belonging to his early career, when he was influenced by Cimabue.

Prompt: グアリーノの聖母に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Cimabue
Duccio
Duccio
Galleria Sabauda
Riccardo Gualino
Turin


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グアリーノの聖母

Category:Paintings by DuccioCategory:1280s paintingsCategory:Paintings of the Madonna and ChildCategory:Paintings in the Galleria SabaudaCategory:Angels in art

Prompt: グアリーノの聖母に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


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グアリーノの聖母

Category:Paintings by DuccioCategory:1280s paintingsCategory:Paintings of the Madonna and ChildCategory:Paintings in the Galleria SabaudaCategory:Angels in art

Prompt: グアリーノの聖母の情報源を説明してください。英語で出力して下さい。


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グアリーノの聖母

Category:Paintings by DuccioCategory:1280s paintingsCategory:Paintings of the Madonna and ChildCategory:Paintings in the Galleria SabaudaCategory:Angels in art

Prompt: グアリーノの聖母はどのように情報源を説明していますか？英語で出力して下さい。


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グアリーノの聖母

Category:Paintings by DuccioCategory:1280s paintingsCategory:Paintings of the Madonna and ChildCategory:Paintings in the Galleria SabaudaCategory:Angels in art

Prompt: グアリーノの聖母に関して、どのように情報源が議論されていますか？英語で出力して下さい。


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トルコの奴隷

Turkish Slave , also called Portrait of a Young Woman, is a painting by the Italian Mannerist artist Parmigianino. The painting was executed around 1533. It is housed in the Galleria nazionale di Parma.The title derives from the misinterpretation of the sitter's headwear as a turban. It is in fact a typical headdress of noblewomen of the time called a balzo, with examples appearing in numerous contemporary portraits. She is wearing a chemise under her elaborately sleeved dress called a guimp and is holding a feather fan used as a flywhisk.

Prompt: トルコの奴隷に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Galleria nazionale di Parma
Parma
Parmigianino


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トルコの奴隷

Turkish Slave , also called Portrait of a Young Woman, is a painting by the Italian Mannerist artist Parmigianino. The painting was executed around 1533. It is housed in the Galleria nazionale di Parma.The title derives from the misinterpretation of the sitter's headwear as a turban. It is in fact a typical headdress of noblewomen of the time called a balzo, with examples appearing in numerous contemporary portraits. She is wearing a chemise under her elaborately sleeved dress called a guimp and is holding a feather fan used as a flywhisk.

Prompt: トルコの奴隷の抽象を説明してください。英語で出力して下さい。

Galleria nazionale di Parma
Parma
Parmigianino


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トルコの奴隷

Turkish Slave , also called Portrait of a Young Woman, is a painting by the Italian Mannerist artist Parmigianino. The painting was executed around 1533. It is housed in the Galleria nazionale di Parma.The title derives from the misinterpretation of the sitter's headwear as a turban. It is in fact a typical headdress of noblewomen of the time called a balzo, with examples appearing in numerous contemporary portraits. She is wearing a chemise under her elaborately sleeved dress called a guimp and is holding a feather fan used as a flywhisk.

Prompt: トルコの奴隷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。

Galleria nazionale di Parma
Parma
Parmigianino


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トルコの奴隷

Turkish Slave , also called Portrait of a Young Woman, is a painting by the Italian Mannerist artist Parmigianino. The painting was executed around 1533. It is housed in the Galleria nazionale di Parma.The title derives from the misinterpretation of the sitter's headwear as a turban. It is in fact a typical headdress of noblewomen of the time called a balzo, with examples appearing in numerous contemporary portraits. She is wearing a chemise under her elaborately sleeved dress called a guimp and is holding a feather fan used as a flywhisk.

Prompt: トルコの奴隷に関して、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。

Galleria nazionale di Parma
Parma
Parmigianino


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トルコの奴隷

The work was in the Uffizi Gallery until 1928, when it was exchanged for two 13th century panels and a portrait thought to be of Philip, Duke of Parma by Giuseppe Baldrighi  and later recognized as a self-portrait.  It had arrived in Florence through   Cardinal Leopoldo de' Medici, who owned it as early as 1675 and left it to the Medici Cabinet after his death.  It is mentioned in the Uffizi inventories of  1704 and 1890, being listed in the latter as "Portrait of a Young Woman with a turban on her head, with the left she holds a plume, by  Parmigianino's hand".The work was restored in 1968, at which time the dark background was removed and a uniform, earth-like color was discovered. The intervention, however, has been criticized, since several art historians consider the black background as a later intervention by Parmigianino himself.

Prompt: トルコの奴隷に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Giuseppe Baldrighi
Leopoldo de' Medici
Parma
Parmigianino
Philip, Duke of Parma
Uffizi


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トルコの奴隷

The work was in the Uffizi Gallery until 1928, when it was exchanged for two 13th century panels and a portrait thought to be of Philip, Duke of Parma by Giuseppe Baldrighi  and later recognized as a self-portrait.  It had arrived in Florence through   Cardinal Leopoldo de' Medici, who owned it as early as 1675 and left it to the Medici Cabinet after his death.  It is mentioned in the Uffizi inventories of  1704 and 1890, being listed in the latter as "Portrait of a Young Woman with a turban on her head, with the left she holds a plume, by  Parmigianino's hand".The work was restored in 1968, at which time the dark background was removed and a uniform, earth-like color was discovered. The intervention, however, has been criticized, since several art historians consider the black background as a later intervention by Parmigianino himself.

Prompt: トルコの奴隷の歴史を説明してください。英語で出力して下さい。

Giuseppe Baldrighi
Leopoldo de' Medici
Parma
Parmigianino
Philip, Duke of Parma
Uffizi


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トルコの奴隷

The work was in the Uffizi Gallery until 1928, when it was exchanged for two 13th century panels and a portrait thought to be of Philip, Duke of Parma by Giuseppe Baldrighi  and later recognized as a self-portrait.  It had arrived in Florence through   Cardinal Leopoldo de' Medici, who owned it as early as 1675 and left it to the Medici Cabinet after his death.  It is mentioned in the Uffizi inventories of  1704 and 1890, being listed in the latter as "Portrait of a Young Woman with a turban on her head, with the left she holds a plume, by  Parmigianino's hand".The work was restored in 1968, at which time the dark background was removed and a uniform, earth-like color was discovered. The intervention, however, has been criticized, since several art historians consider the black background as a later intervention by Parmigianino himself.

Prompt: トルコの奴隷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。

Giuseppe Baldrighi
Leopoldo de' Medici
Parma
Parmigianino
Philip, Duke of Parma
Uffizi


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トルコの奴隷

The work was in the Uffizi Gallery until 1928, when it was exchanged for two 13th century panels and a portrait thought to be of Philip, Duke of Parma by Giuseppe Baldrighi  and later recognized as a self-portrait.  It had arrived in Florence through   Cardinal Leopoldo de' Medici, who owned it as early as 1675 and left it to the Medici Cabinet after his death.  It is mentioned in the Uffizi inventories of  1704 and 1890, being listed in the latter as "Portrait of a Young Woman with a turban on her head, with the left she holds a plume, by  Parmigianino's hand".The work was restored in 1968, at which time the dark background was removed and a uniform, earth-like color was discovered. The intervention, however, has been criticized, since several art historians consider the black background as a later intervention by Parmigianino himself.

Prompt: トルコの奴隷に関して、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。

Giuseppe Baldrighi
Leopoldo de' Medici
Parma
Parmigianino
Philip, Duke of Parma
Uffizi


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トルコの奴隷

The subject is a young woman with brown hair and eyes, portrayed as a half-figure.  She wears a white silk dress or bodice striped with gold.  Her over-dress of indigo  blue satin has large puffed sleeves and is worn low around the shoulders, revealing the bodice.  She also wears a soft embroidered apron on her belly of a type also represented in the painting Antea by the same artist.  On the head she wears a doughnut-shaped headdress sewn with gilt thread and decorated by a medallion portraying Pegasus, perhaps a metaphor of love or a heraldic reference to the Cavalli family. This style of headwear was fashionable for women of the time, invented for Isabella d'Este and featured in numerous female portraits from the Lombard and Padan  area in the early 16th century.

Prompt: トルコの奴隷に焦点を当てて、その説明を説明してください。英語で出力して下さい。


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トルコの奴隷

The subject is a young woman with brown hair and eyes, portrayed as a half-figure.  She wears a white silk dress or bodice striped with gold.  Her over-dress of indigo  blue satin has large puffed sleeves and is worn low around the shoulders, revealing the bodice.  She also wears a soft embroidered apron on her belly of a type also represented in the painting Antea by the same artist.  On the head she wears a doughnut-shaped headdress sewn with gilt thread and decorated by a medallion portraying Pegasus, perhaps a metaphor of love or a heraldic reference to the Cavalli family. This style of headwear was fashionable for women of the time, invented for Isabella d'Este and featured in numerous female portraits from the Lombard and Padan  area in the early 16th century.

Prompt: トルコの奴隷の説明を説明してください。英語で出力して下さい。


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トルコの奴隷

The subject is a young woman with brown hair and eyes, portrayed as a half-figure.  She wears a white silk dress or bodice striped with gold.  Her over-dress of indigo  blue satin has large puffed sleeves and is worn low around the shoulders, revealing the bodice.  She also wears a soft embroidered apron on her belly of a type also represented in the painting Antea by the same artist.  On the head she wears a doughnut-shaped headdress sewn with gilt thread and decorated by a medallion portraying Pegasus, perhaps a metaphor of love or a heraldic reference to the Cavalli family. This style of headwear was fashionable for women of the time, invented for Isabella d'Este and featured in numerous female portraits from the Lombard and Padan  area in the early 16th century.

Prompt: トルコの奴隷はどのように説明を説明していますか？英語で出力して下さい。


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トルコの奴隷

The subject is a young woman with brown hair and eyes, portrayed as a half-figure.  She wears a white silk dress or bodice striped with gold.  Her over-dress of indigo  blue satin has large puffed sleeves and is worn low around the shoulders, revealing the bodice.  She also wears a soft embroidered apron on her belly of a type also represented in the painting Antea by the same artist.  On the head she wears a doughnut-shaped headdress sewn with gilt thread and decorated by a medallion portraying Pegasus, perhaps a metaphor of love or a heraldic reference to the Cavalli family. This style of headwear was fashionable for women of the time, invented for Isabella d'Este and featured in numerous female portraits from the Lombard and Padan  area in the early 16th century.

Prompt: トルコの奴隷に関して、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。


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キリストの割礼 (パルミジャニーノ)

The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Detroit Institute of Arts
Michigan
Parmigianino


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キリストの割礼 (パルミジャニーノ)

The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.

Prompt: キリストの割礼 (パルミジャニーノ)の抽象を説明してください。英語で出力して下さい。

Detroit Institute of Arts
Michigan
Parmigianino


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キリストの割礼 (パルミジャニーノ)

The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Detroit Institute of Arts
Michigan
Parmigianino


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キリストの割礼 (パルミジャニーノ)

The Circumcision, a painting by the Italian Mannerist artist Parmigianino of the common subject of the circumcision of Jesus, was executed around 1523 and is now in the Detroit Institute of Arts, Michigan, United States.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Detroit Institute of Arts
Michigan
Parmigianino


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キリストの割礼 (パルミジャニーノ)

Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.leftThe painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins  of the Louvre museum.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Cabinet des Dessins
Giorgio Vasari
Louvre
Nordiska Kompaniet
Parmigianino
Stockholm


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キリストの割礼 (パルミジャニーノ)

Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.leftThe painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins  of the Louvre museum.

Prompt: キリストの割礼 (パルミジャニーノ)の歴史を説明してください。英語で出力して下さい。

Cabinet des Dessins
Giorgio Vasari
Louvre
Nordiska Kompaniet
Parmigianino
Stockholm


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キリストの割礼 (パルミジャニーノ)

Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.leftThe painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins  of the Louvre museum.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Cabinet des Dessins
Giorgio Vasari
Louvre
Nordiska Kompaniet
Parmigianino
Stockholm


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キリストの割礼 (パルミジャニーノ)

Giorgio Vasari, the late Renaissance biographer of artists, described a depiction of the Circumcision by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work.leftThe painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection, and was copied in an 1851 etching by J. W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which a few years later sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit museum.The painting was not unanimously attributed to Parmigianino until 1991.The dating from around 1523 is based on comparison with early other works by the artist and by a preparatory drawing at the Cabinet des Dessins  of the Louvre museum.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Cabinet des Dessins
Giorgio Vasari
Louvre
Nordiska Kompaniet
Parmigianino
Stockholm


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キリストの割礼 (パルミジャニーノ)

The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Gospel of Luke
Museo del Prado
Parma
Parmigianino


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キリストの割礼 (パルミジャニーノ)

The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma.

Prompt: キリストの割礼 (パルミジャニーノ)の説明を説明してください。英語で出力して下さい。

Gospel of Luke
Museo del Prado
Parma
Parmigianino


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キリストの割礼 (パルミジャニーノ)

The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Gospel of Luke
Museo del Prado
Parma
Parmigianino


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キリストの割礼 (パルミジャニーノ)

The work shows the circumcision of Jesus as described in the Gospel of Luke; the two sacrificial doves refer to the connected act of the purification of Mary. The Christ child, well illuminated, is surrounded by a crowd of characters. At the left is a very young Madonna, with blonde hair, similar to the artist's Saint Barbara at the Museo del Prado. Also on the left, behind her, are two characters confabulating on a background with the rising sun.At the right are two rows of figures, as well as the priest who holds Jesus on the altar and, in the other hand, the ritual knife. Below, between the offers, are two small rabbits, which resembles similar details in the arch of the first chapel frescoed by Parmigianino in the church of San Giovanni Evangelista at Parma.

Prompt: キリストの割礼 (パルミジャニーノ)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。

Gospel of Luke
Museo del Prado
Parma
Parmigianino


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聖ヒエロニムスの幻視

The Vision of Saint Jerome  is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.

Prompt: 聖ヒエロニムスの幻視に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

London
National Gallery
Parmigianino
Jerome
United Kingdom


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聖ヒエロニムスの幻視

The Vision of Saint Jerome  is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.

Prompt: 聖ヒエロニムスの幻視の抽象を説明してください。英語で出力して下さい。

London
National Gallery
Parmigianino
Jerome
United Kingdom


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聖ヒエロニムスの幻視

The Vision of Saint Jerome  is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.

Prompt: 聖ヒエロニムスの幻視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。

London
National Gallery
Parmigianino
Jerome
United Kingdom


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聖ヒエロニムスの幻視

The Vision of Saint Jerome  is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.

Prompt: 聖ヒエロニムスの幻視に関して、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。

London
National Gallery
Parmigianino
Jerome
United Kingdom


section

聖ヒエロニムスの幻視

The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in uro. The contract mentioned "Francesco Mazola de Parma" and one "Pietro" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original destination as part of a triptych, whose sides  should represent the Immaculate Conception  and the saints Joachim and Anna. According to late Renaissance art biographer Giorgio Vasari, Parmigianino was working to this painting during the Sack of Rome, and he had to stop when the city was ravaged by the imperial troops. He was able to escape paying a ransom, while his uncle remained in Rome, being able to hide the painting  in the refectory of Santa Maria della Pace.In 1558 the Bufalini family decided to move it in their chapel in Sant'Agostino at Città di Castello, from where it was acquired in 1790 by the English painter James Durno. In England, it was sold to the Marquess of Albercon for 1,500 guineas, then, after a series of changes of hand, to the National Gallery, in 1826.There are preparatory drawings in the Musée Condé, the British Museum and other museums, for a total of some twenty. A drawing in the Galleria nazionale di Parma is the one which is more similar to the final version, although showing a horizontal composition.

Prompt: 聖ヒエロニムスの幻視に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

British Museum
Città di Castello
Galleria nazionale di Parma
Giorgio Vasari
James Durno
Musée Condé
National Gallery
Parmigianino
Santa Maria della Pace


section

聖ヒエロニムスの幻視

The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in uro. The contract mentioned "Francesco Mazola de Parma" and one "Pietro" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original destination as part of a triptych, whose sides  should represent the Immaculate Conception  and the saints Joachim and Anna. According to late Renaissance art biographer Giorgio Vasari, Parmigianino was working to this painting during the Sack of Rome, and he had to stop when the city was ravaged by the imperial troops. He was able to escape paying a ransom, while his uncle remained in Rome, being able to hide the painting  in the refectory of Santa Maria della Pace.In 1558 the Bufalini family decided to move it in their chapel in Sant'Agostino at Città di Castello, from where it was acquired in 1790 by the English painter James Durno. In England, it was sold to the Marquess of Albercon for 1,500 guineas, then, after a series of changes of hand, to the National Gallery, in 1826.There are preparatory drawings in the Musée Condé, the British Museum and other museums, for a total of some twenty. A drawing in the Galleria nazionale di Parma is the one which is more similar to the final version, although showing a horizontal composition.

Prompt: 聖ヒエロニムスの幻視の歴史を説明してください。英語で出力して下さい。

British Museum
Città di Castello
Galleria nazionale di Parma
Giorgio Vasari
James Durno
Musée Condé
National Gallery
Parmigianino
Santa Maria della Pace


section

聖ヒエロニムスの幻視

The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in uro. The contract mentioned "Francesco Mazola de Parma" and one "Pietro" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original destination as part of a triptych, whose sides  should represent the Immaculate Conception  and the saints Joachim and Anna. According to late Renaissance art biographer Giorgio Vasari, Parmigianino was working to this painting during the Sack of Rome, and he had to stop when the city was ravaged by the imperial troops. He was able to escape paying a ransom, while his uncle remained in Rome, being able to hide the painting  in the refectory of Santa Maria della Pace.In 1558 the Bufalini family decided to move it in their chapel in Sant'Agostino at Città di Castello, from where it was acquired in 1790 by the English painter James Durno. In England, it was sold to the Marquess of Albercon for 1,500 guineas, then, after a series of changes of hand, to the National Gallery, in 1826.There are preparatory drawings in the Musée Condé, the British Museum and other museums, for a total of some twenty. A drawing in the Galleria nazionale di Parma is the one which is more similar to the final version, although showing a horizontal composition.

Prompt: 聖ヒエロニムスの幻視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。

British Museum
Città di Castello
Galleria nazionale di Parma
Giorgio Vasari
James Durno
Musée Condé
National Gallery
Parmigianino
Santa Maria della Pace


section

聖ヒエロニムスの幻視

The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in uro. The contract mentioned "Francesco Mazola de Parma" and one "Pietro" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original destination as part of a triptych, whose sides  should represent the Immaculate Conception  and the saints Joachim and Anna. According to late Renaissance art biographer Giorgio Vasari, Parmigianino was working to this painting during the Sack of Rome, and he had to stop when the city was ravaged by the imperial troops. He was able to escape paying a ransom, while his uncle remained in Rome, being able to hide the painting  in the refectory of Santa Maria della Pace.In 1558 the Bufalini family decided to move it in their chapel in Sant'Agostino at Città di Castello, from where it was acquired in 1790 by the English painter James Durno. In England, it was sold to the Marquess of Albercon for 1,500 guineas, then, after a series of changes of hand, to the National Gallery, in 1826.There are preparatory drawings in the Musée Condé, the British Museum and other museums, for a total of some twenty. A drawing in the Galleria nazionale di Parma is the one which is more similar to the final version, although showing a horizontal composition.

Prompt: 聖ヒエロニムスの幻視に関して、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。

British Museum
Città di Castello
Galleria nazionale di Parma
Giorgio Vasari
James Durno
Musée Condé
National Gallery
Parmigianino
Santa Maria della Pace


section

聖ヒエロニムスの幻視

The painting is divided into two narrative sectors: a lower one, with Saint Jerome is sleeping near the crucifix  and receives the vision of St. John the Baptist, identified by the long cross and the baptismal washbasin which is tied at his belt; St. John indicates the Child, represented in the upper sector between the legs of the Madonna, with a shining background behind them.Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino during his trips.St. John's raised right arm and upwards-pointing finger are reminiscent of Leonardo's painting St. John the Baptist.

Prompt: 聖ヒエロニムスの幻視に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

聖ヒエロニムスの幻視

The painting is divided into two narrative sectors: a lower one, with Saint Jerome is sleeping near the crucifix  and receives the vision of St. John the Baptist, identified by the long cross and the baptismal washbasin which is tied at his belt; St. John indicates the Child, represented in the upper sector between the legs of the Madonna, with a shining background behind them.Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino during his trips.St. John's raised right arm and upwards-pointing finger are reminiscent of Leonardo's painting St. John the Baptist.

Prompt: 聖ヒエロニムスの幻視の説明を説明してください。英語で出力して下さい。


section

聖ヒエロニムスの幻視

The painting is divided into two narrative sectors: a lower one, with Saint Jerome is sleeping near the crucifix  and receives the vision of St. John the Baptist, identified by the long cross and the baptismal washbasin which is tied at his belt; St. John indicates the Child, represented in the upper sector between the legs of the Madonna, with a shining background behind them.Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino during his trips.St. John's raised right arm and upwards-pointing finger are reminiscent of Leonardo's painting St. John the Baptist.

Prompt: 聖ヒエロニムスの幻視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

聖ヒエロニムスの幻視

The painting is divided into two narrative sectors: a lower one, with Saint Jerome is sleeping near the crucifix  and receives the vision of St. John the Baptist, identified by the long cross and the baptismal washbasin which is tied at his belt; St. John indicates the Child, represented in the upper sector between the legs of the Madonna, with a shining background behind them.Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino during his trips.St. John's raised right arm and upwards-pointing finger are reminiscent of Leonardo's painting St. John the Baptist.

Prompt: 聖ヒエロニムスの幻視に関して、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

ドルーシャウトの肖像画

The Droeshout portrait or Droeshout engraving is a portrait of William Shakespeare engraved by Martin Droeshout as the frontispiece for the title page of the First Folio collection of Shakespeare's plays, published in 1623. It is one of only two works of art definitively identifiable as a depiction of the poet; the other is the statue erected as his funeral monument in Shakespeare's home town of Stratford-upon-Avon. Both are posthumous.While its role as a portrait frontispiece is typical of publications from the era, the exact circumstances surrounding the making of the engraving are unknown. It is uncertain which of two "Martin Droeshouts" created the engraving and it is not known to what extent the features were copied from an existing painting or drawing. Critics have generally been unimpressed by it as a work of art, although the engraving has had a few defenders, and exponents of the Shakespeare authorship question have claimed to find coded messages within it.

Prompt: ドルーシャウトの肖像画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

First Folio
Martin Droeshout
Shakespeare authorship question
Stratford-upon-Avon
William Shakespeare


section

ドルーシャウトの肖像画

The Droeshout portrait or Droeshout engraving is a portrait of William Shakespeare engraved by Martin Droeshout as the frontispiece for the title page of the First Folio collection of Shakespeare's plays, published in 1623. It is one of only two works of art definitively identifiable as a depiction of the poet; the other is the statue erected as his funeral monument in Shakespeare's home town of Stratford-upon-Avon. Both are posthumous.While its role as a portrait frontispiece is typical of publications from the era, the exact circumstances surrounding the making of the engraving are unknown. It is uncertain which of two "Martin Droeshouts" created the engraving and it is not known to what extent the features were copied from an existing painting or drawing. Critics have generally been unimpressed by it as a work of art, although the engraving has had a few defenders, and exponents of the Shakespeare authorship question have claimed to find coded messages within it.

Prompt: ドルーシャウトの肖像画の抽象を説明してください。英語で出力して下さい。

First Folio
Martin Droeshout
Shakespeare authorship question
Stratford-upon-Avon
William Shakespeare


section

ドルーシャウトの肖像画

The Droeshout portrait or Droeshout engraving is a portrait of William Shakespeare engraved by Martin Droeshout as the frontispiece for the title page of the First Folio collection of Shakespeare's plays, published in 1623. It is one of only two works of art definitively identifiable as a depiction of the poet; the other is the statue erected as his funeral monument in Shakespeare's home town of Stratford-upon-Avon. Both are posthumous.While its role as a portrait frontispiece is typical of publications from the era, the exact circumstances surrounding the making of the engraving are unknown. It is uncertain which of two "Martin Droeshouts" created the engraving and it is not known to what extent the features were copied from an existing painting or drawing. Critics have generally been unimpressed by it as a work of art, although the engraving has had a few defenders, and exponents of the Shakespeare authorship question have claimed to find coded messages within it.

Prompt: ドルーシャウトの肖像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。

First Folio
Martin Droeshout
Shakespeare authorship question
Stratford-upon-Avon
William Shakespeare


section

ドルーシャウトの肖像画

The Droeshout portrait or Droeshout engraving is a portrait of William Shakespeare engraved by Martin Droeshout as the frontispiece for the title page of the First Folio collection of Shakespeare's plays, published in 1623. It is one of only two works of art definitively identifiable as a depiction of the poet; the other is the statue erected as his funeral monument in Shakespeare's home town of Stratford-upon-Avon. Both are posthumous.While its role as a portrait frontispiece is typical of publications from the era, the exact circumstances surrounding the making of the engraving are unknown. It is uncertain which of two "Martin Droeshouts" created the engraving and it is not known to what extent the features were copied from an existing painting or drawing. Critics have generally been unimpressed by it as a work of art, although the engraving has had a few defenders, and exponents of the Shakespeare authorship question have claimed to find coded messages within it.

Prompt: ドルーシャウトの肖像画に関して、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。

First Folio
Martin Droeshout
Shakespeare authorship question
Stratford-upon-Avon
William Shakespeare


section

ドルーシャウトの肖像画

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache.ter copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685   and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

Prompt: ドルーシャウトの肖像画に焦点を当てて、その州を説明してください。英語で出力して下さい。


section

ドルーシャウトの肖像画

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache.ter copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685   and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

Prompt: ドルーシャウトの肖像画の州を説明してください。英語で出力して下さい。


section

ドルーシャウトの肖像画

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache.ter copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685   and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

Prompt: ドルーシャウトの肖像画はどのように州を説明していますか？英語で出力して下さい。


section

ドルーシャウトの肖像画

The portrait exists in two "states", or distinct versions of the image, printed from the same plate by Droeshout himself. Examples of the first state are very rare, existing in only four copies. These were probably test printings, created so that the engraver could see whether some alterations needed to be made. The overwhelming majority of surviving copies of the First Folio use the second state, which has heavier shadows and other minor differences, notably in the jawline and the moustache.ter copies of the second state, with minor retouching, were also printed from the plate by Thomas Cotes in 1632, for Robert Allot's Second Folio, a new edition of the collected plays. It was also reused in later folios, although by then the plate was beginning to wear out and was heavily re-engraved. The original plate was still being used up to the Fourth Folio of 1685   and then disappears. Already in 1640 William Marshall had copied and adapted the design on a new plate for John Benson's edition of Shakespeare's sonnets. All subsequent engraved reprintings of the portrait were made by later engravers copying the original printed image.

Prompt: ドルーシャウトの肖像画に関して、どのように州が議論されていますか？英語で出力して下さい。


section

ドルーシャウトの肖像画

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger , the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

Prompt: ドルーシャウトの肖像画に焦点を当てて、その著者権を説明してください。英語で出力して下さい。

Brussels
First Folio
June Schlueter
Madrid
Martin Droeshout


section

ドルーシャウトの肖像画

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger , the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

Prompt: ドルーシャウトの肖像画の著者権を説明してください。英語で出力して下さい。

Brussels
First Folio
June Schlueter
Madrid
Martin Droeshout


section

ドルーシャウトの肖像画

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger , the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

Prompt: ドルーシャウトの肖像画はどのように著者権を説明していますか？英語で出力して下さい。

Brussels
First Folio
June Schlueter
Madrid
Martin Droeshout


section

ドルーシャウトの肖像画

The engraving is signed under the image at the left, "Martin Droeshout. sculpsit. London". The Droeshouts were a family of artists from the Netherlands, who had moved to Britain. Because there were two members of the family named Martin there has been some dispute about which of the two created the engraving. Most sources state that the engraver was Martin Droeshout the Younger , the son of Michael Droeshout, an immigrant from Brussels. Except for his date of birth and parentage, very little is known about Martin the Younger, but since his father was an engraver, it has been assumed that Martin followed in his father's footsteps, and that he made the engraving of Shakespeare. As he was 15 when Shakespeare died, he may never have seen him and it has been assumed that he worked from an existing image.More recently, June Schlueter has found evidence that Martin the Elder was in London when the engraver of the First Folio portrait was known to be in Madrid. Although she began her archival research hoping to prove Edmond's assertion that the elder Martin was the Shakespeare engraver, Schlueter concludes that the newly discovered evidence actually supports the younger.The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.

Prompt: ドルーシャウトの肖像画に関して、どのように著者権が議論されていますか？英語で出力して下さい。

Brussels
First Folio
June Schlueter
Madrid
Martin Droeshout


section

ドルーシャウトの肖像画

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book.Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,In a similar vein, art historian Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

Prompt: ドルーシャウトの肖像画に焦点を当てて、その重要性を説明してください。英語で出力して下さい。


section

ドルーシャウトの肖像画

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book.Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,In a similar vein, art historian Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

Prompt: ドルーシャウトの肖像画の重要性を説明してください。英語で出力して下さい。


section

ドルーシャウトの肖像画

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book.Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,In a similar vein, art historian Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

Prompt: ドルーシャウトの肖像画はどのように重要性を説明していますか？英語で出力して下さい。


section

ドルーシャウトの肖像画

The engraving is praised by Shakespeare's friend Ben Jonson in his poem To the Reader printed alongside it, in which he says that it is a good likeness of the poet. He writes that "the graver had a strife / With nature to outdo the life" and that he has "hit his face" accurately. He adds that the engraver could not represent Shakespeare's "wit", for which the viewer will have to read the book.Because of this testimony to the accuracy of the portrait, commentators have used the Droeshout print as a standard by which to judge other portraits alleged to depict Shakespeare. As the 19th-century artist and writer Abraham Wivell put it,In a similar vein, art historian Tarnya Cooper, in 2006, writes that "it is the only portrait that definitely provides us with a reasonable idea of Shakespeare's appearance".

Prompt: ドルーシャウトの肖像画に関して、どのように重要性が議論されていますか？英語で出力して下さい。


section

ドルーシャウトの肖像画

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet.  Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

Prompt: ドルーシャウトの肖像画に焦点を当てて、その批評評価を説明してください。英語で出力して下さい。

James Boaden
John Philip Kemble
Northrop Frye
Park Honan
Samuel Schoenbaum
Sidney Lee


section

ドルーシャウトの肖像画

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet.  Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

Prompt: ドルーシャウトの肖像画の批評評価を説明してください。英語で出力して下さい。

James Boaden
John Philip Kemble
Northrop Frye
Park Honan
Samuel Schoenbaum
Sidney Lee


section

ドルーシャウトの肖像画

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet.  Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

Prompt: ドルーシャウトの肖像画はどのように批評評価を説明していますか？英語で出力して下さい。

James Boaden
John Philip Kemble
Northrop Frye
Park Honan
Samuel Schoenbaum
Sidney Lee


section

ドルーシャウトの肖像画

The poor modelling and the clumsy relationship between the head and the body have led many critics to see the print as a poor representation of the poet.  Sidney Lee wrote that "The face is long and the forehead high; the one ear which is visible is shapeless; the top of the head is bald, but the hair falls in abundance over the ears." Samuel Schoenbaum was equally dismissive:Northrop Frye said that the portrait makes Shakespeare "look like an idiot." Cooper notes that "the art of printmaking in England was underdeveloped and there were relatively few skilled engravers. Yet even by the less exacting standards observed in England, the Droeshout engraving is poorly proportioned."Not all critics have been so harsh. The 19th-century writer James Boaden wrote that "to me the portrait exhibits an aspect of calm benevolence and tender thought, great comprehension and a kind of mixt feeling, as when melancholy yields to the suggestions of fancy". He added that his friend John Philip Kemble thought this "despised work" was more characteristic of Shakespeare than any other known portrait. More recently, Park Honan has written that "if the portrait lacks the 'sparkle' of a witty poet, it suggests the inwardness of a writer of great intelligence, an independent man who is not insensitive to the pain of others."

Prompt: ドルーシャウトの肖像画に関して、どのように批評評価が議論されていますか？英語で出力して下さい。

James Boaden
John Philip Kemble
Northrop Frye
Park Honan
Samuel Schoenbaum
Sidney Lee


subsection

ドルーシャウトの肖像画

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Prompt: ドルーシャウトの肖像画の文脈で、ソース画像と重要性を説明してください。英語で出力して下さい。


subsection

ドルーシャウトの肖像画

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Prompt: ドルーシャウトの肖像画の重要性に関するソース画像を説明してください。英語で出力して下さい。


subsection

ドルーシャウトの肖像画

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Prompt: ドルーシャウトの肖像画では、どのように重要性のソース画像が説明されていますか？英語で出力して下さい。


subsection

ドルーシャウトの肖像画

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Prompt: ドルーシャウトの肖像画の重要性におけるソース画像の特徴を説明してください。英語で出力して下さい。


subsection

ドルーシャウトの肖像画

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-wrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Prompt: ドルーシャウトの肖像画の文脈で、陰謀論と重要性を説明してください。英語で出力して下さい。

Charles Sidney Beauclerk
Elizabeth I
John Davies of Hereford
Lillian Schwartz
Shakespeare authorship question
William Shakespeare


subsection

ドルーシャウトの肖像画

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-wrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Prompt: ドルーシャウトの肖像画の重要性に関する陰謀論を説明してください。英語で出力して下さい。

Charles Sidney Beauclerk
Elizabeth I
John Davies of Hereford
Lillian Schwartz
Shakespeare authorship question
William Shakespeare


subsection

ドルーシャウトの肖像画

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-wrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Prompt: ドルーシャウトの肖像画では、どのように重要性の陰謀論が説明されていますか？英語で出力して下さい。

Charles Sidney Beauclerk
Elizabeth I
John Davies of Hereford
Lillian Schwartz
Shakespeare authorship question
William Shakespeare


subsection

ドルーシャウトの肖像画

Proponents of the Shakespeare authorship question, who assert that someone other than Shakespeare was the real author of the plays attributed to him, have claimed to find hidden signs in the portrait pointing to this supposed secret. Indeed, Dover Wilson suggested that the poor quality of the Droeshout and funeral effigy images are the underlying reason for "the campaign against 'the man from Stratford' and the attempts to dethrone him in favour of Lord Bacon, the Earl of Derby, the Earl of Oxford, or whatever coroneted pretender may be in vogue at the present moment." Using similar methods Charles Sidney Beauclerk subsequently concluded that the portrait depicted the Earl of Oxford. In 1995, Lillian Schwartz, using a computerised version of the same technique, argued that it was based on a portrait of Elizabeth I.An alternative approach has been to claim that the portrait depicts William Shakespeare, but does so in a way designed to ridicule him by making him look ugly, or to suggest that he is a mask for a hidden author. The double line created by the gap between the modelling shadow and the jawline has been used to suggest that it is a mask, as has the shape of the doublet, which is claimed to represent both the back and front of the body. Thus Edwin Durning-wrence asserts that "there is no question – there can be no possible question – that in fact it is a cunningly drawn cryptographic picture, shewing two left arms and a mask ... Especially note that the ear is a mask ear and stands out curiously; note also how distinct the line shewing the edge of the mask appears."None of these views are accepted by mainstream art historians. Lewis writes that these features are all characteristic of engravings of the era and that none are unusual. An engraving of John Davies of Hereford shares most of these quirks for example, including the uncertain placing of the head on the body and the "same awkward difference in design between the right and left shoulders".

Prompt: ドルーシャウトの肖像画の重要性における陰謀論の特徴を説明してください。英語で出力して下さい。

Charles Sidney Beauclerk
Elizabeth I
John Davies of Hereford
Lillian Schwartz
Shakespeare authorship question
William Shakespeare


subsection

ドルーシャウトの肖像画

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Prompt: ドルーシャウトの肖像画の文脈で、ソース画像と批評評価を説明してください。英語で出力して下さい。


subsection

ドルーシャウトの肖像画

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Prompt: ドルーシャウトの肖像画の批評評価に関するソース画像を説明してください。英語で出力して下さい。


subsection

ドルーシャウトの肖像画

In addition to its use as a template to judge the authenticity of other images, scholars have alsospeculated about the original source used by Droeshout himself. The 19th-century scholar George Scharf argued on the basis of the inconsistencies in the lights and shadows that the original image would have been "either a limning or a crayon drawing". These typically used outlines rather than chiaroscuro modelling. He deduced that Droeshout had inexpertly attempted to add modelling shadows. Mary Edmond points out that Droeshout the Elder seems to have had an association with Marcus Gheeraerts the portraitist, and notes that there is evidence that a portrait of Shakespeare by Gheeraerts may have once existed. She surmises that Droeshout's engraving may have been derived from this lost portrait. Cooper argues that the poor drawing and modelling of the doublet and collar suggests that Droeshout was copying a lost drawing or painting that only depicted Shakespeare's head and shoulders. The body was added by the engraver himself, as was common practice. In 2005 chemical analysis proved the portrait to be a 19th-century fake painted over an authentic 17th-century image.

Prompt: ドルーシャウトの肖像画では、どのように批評評価のソース画像が説明されていますか？英語で出力して下さい。