section

ミロのヴィーナス

alt = Venus de Milo on display at the Louvre title = Venus de Milo dimensions =  year = 2nd century BC coordinates =  condition = Arms broken off; otherwise intact medium = Parian marble subject = Aphrodite  city = Paris museum = Louvre italic title = no italic other_title_1 = no}}The Venus de Milo or Aphrodite of Melos ; }} is an ancient Greek marble sculpture that was created during the Hellenistic period.  Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over  high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.

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

Antioch on the Maeander
Aphrodite
Hellenistic period
Louvre
Milos
Napoleonic Wars
Parian marble


section

ミロのヴィーナス

alt = Venus de Milo on display at the Louvre title = Venus de Milo dimensions =  year = 2nd century BC coordinates =  condition = Arms broken off; otherwise intact medium = Parian marble subject = Aphrodite  city = Paris museum = Louvre italic title = no italic other_title_1 = no}}The Venus de Milo or Aphrodite of Melos ; }} is an ancient Greek marble sculpture that was created during the Hellenistic period.  Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over  high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.

Prompt: ミロのヴィーナスの抽象を説明してください。英語で出力して下さい。

Antioch on the Maeander
Aphrodite
Hellenistic period
Louvre
Milos
Napoleonic Wars
Parian marble


section

ミロのヴィーナス

alt = Venus de Milo on display at the Louvre title = Venus de Milo dimensions =  year = 2nd century BC coordinates =  condition = Arms broken off; otherwise intact medium = Parian marble subject = Aphrodite  city = Paris museum = Louvre italic title = no italic other_title_1 = no}}The Venus de Milo or Aphrodite of Melos ; }} is an ancient Greek marble sculpture that was created during the Hellenistic period.  Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over  high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.

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

Antioch on the Maeander
Aphrodite
Hellenistic period
Louvre
Milos
Napoleonic Wars
Parian marble


section

ミロのヴィーナス

alt = Venus de Milo on display at the Louvre title = Venus de Milo dimensions =  year = 2nd century BC coordinates =  condition = Arms broken off; otherwise intact medium = Parian marble subject = Aphrodite  city = Paris museum = Louvre italic title = no italic other_title_1 = no}}The Venus de Milo or Aphrodite of Melos ; }} is an ancient Greek marble sculpture that was created during the Hellenistic period.  Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over  high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.

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

Antioch on the Maeander
Aphrodite
Hellenistic period
Louvre
Milos
Napoleonic Wars
Parian marble


section

ミロのヴィーナス

The Venus de Milo is an over  tall.  Brill's New Pauly says . The Louvre's online catalogue states .  Christofilis Maggidis says . Alain Pasquier says  excluding the plinth, or  including it.}} Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.}}Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as "the last great work of antique Greece", and "of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work", while also using "the inventions of his own time"; "the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect".

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

Aphrodite
Hellenistic art
Kenneth Clark
Louvre
Parian marble


section

ミロのヴィーナス

The Venus de Milo is an over  tall.  Brill's New Pauly says . The Louvre's online catalogue states .  Christofilis Maggidis says . Alain Pasquier says  excluding the plinth, or  including it.}} Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.}}Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as "the last great work of antique Greece", and "of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work", while also using "the inventions of his own time"; "the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect".

Prompt: ミロのヴィーナスの説明を説明してください。英語で出力して下さい。

Aphrodite
Hellenistic art
Kenneth Clark
Louvre
Parian marble


section

ミロのヴィーナス

The Venus de Milo is an over  tall.  Brill's New Pauly says . The Louvre's online catalogue states .  Christofilis Maggidis says . Alain Pasquier says  excluding the plinth, or  including it.}} Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.}}Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as "the last great work of antique Greece", and "of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work", while also using "the inventions of his own time"; "the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect".

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

Aphrodite
Hellenistic art
Kenneth Clark
Louvre
Parian marble


section

ミロのヴィーナス

The Venus de Milo is an over  tall.  Brill's New Pauly says . The Louvre's online catalogue states .  Christofilis Maggidis says . Alain Pasquier says  excluding the plinth, or  including it.}} Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.}}Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as "the last great work of antique Greece", and "of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work", while also using "the inventions of his own time"; "the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect".

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

Aphrodite
Hellenistic art
Kenneth Clark
Louvre
Parian marble


section

ミロのヴィーナス

The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios,}} the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having "no factual basis".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. or Louis bought it; according to Gregory Curtis, de Rivière "offered" the Venus to the king for the Louvre and the comte de Forbin, the curator of the Louvre, reimbursed de Rivière for the cost of the sculpture.}} Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.

Prompt: ミロのヴィーナスに焦点を当てて、その発見を説明してください。英語で出力して下さい。


section

ミロのヴィーナス

The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios,}} the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having "no factual basis".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. or Louis bought it; according to Gregory Curtis, de Rivière "offered" the Venus to the king for the Louvre and the comte de Forbin, the curator of the Louvre, reimbursed de Rivière for the cost of the sculpture.}} Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.

Prompt: ミロのヴィーナスの発見を説明してください。英語で出力して下さい。


section

ミロのヴィーナス

The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios,}} the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having "no factual basis".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. or Louis bought it; according to Gregory Curtis, de Rivière "offered" the Venus to the king for the Louvre and the comte de Forbin, the curator of the Louvre, reimbursed de Rivière for the cost of the sculpture.}} Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.

Prompt: ミロのヴィーナスはどのように発見を説明していますか？英語で出力して下さい。


section

ミロのヴィーナス

The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios,}} the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having "no factual basis".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. or Louis bought it; according to Gregory Curtis, de Rivière "offered" the Venus to the king for the Louvre and the comte de Forbin, the curator of the Louvre, reimbursed de Rivière for the cost of the sculpture.}} Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.

Prompt: ミロのヴィーナスに関して、どのように発見が議論されていますか？英語で出力して下さい。


section

ミロのヴィーナス

The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the  where it remained until 1848.  From there it was moved to the , where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the  was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the  to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.

Prompt: ミロのヴィーナスに焦点を当てて、その表示を説明してください。英語で出力して下さい。

Château de Valençay
Dying Slave
Louvre
Michelangelo
Mona Lisa
Paris Commune
Rebellious Slave


section

ミロのヴィーナス

The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the  where it remained until 1848.  From there it was moved to the , where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the  was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the  to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.

Prompt: ミロのヴィーナスの表示を説明してください。英語で出力して下さい。

Château de Valençay
Dying Slave
Louvre
Michelangelo
Mona Lisa
Paris Commune
Rebellious Slave


section

ミロのヴィーナス

The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the  where it remained until 1848.  From there it was moved to the , where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the  was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the  to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.

Prompt: ミロのヴィーナスはどのように表示を説明していますか？英語で出力して下さい。

Château de Valençay
Dying Slave
Louvre
Michelangelo
Mona Lisa
Paris Commune
Rebellious Slave


section

ミロのヴィーナス

The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the  where it remained until 1848.  From there it was moved to the , where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the  was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the  to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.

Prompt: ミロのヴィーナスに関して、どのように表示が議論されていますか？英語で出力して下さい。

Château de Valençay
Dying Slave
Louvre
Michelangelo
Mona Lisa
Paris Commune
Rebellious Slave


section

ミロのヴィーナス

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark , "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Prompt: ミロのヴィーナスに焦点を当てて、その受付を説明してください。英語で出力して下さい。

Aphrodite
Aphrodite of Knidos
Arman
Blonde Venus
Clara Bow
Clarence Sinclair Bull
Clive Barker
Erwin Blumenfeld
Eva Green
Hellenistic period
Honoré Daumier
International Klein Blue
Jean Harlow
Jim Dine
Joan Crawford
Kellogg's
Kenneth Clark
Liberty Leading the People
Louvre
Marlene Dietrich
Martin Robertson
Max Ernst
Max Klinger
Mercedes-Benz
Napoleonic Wars
Photoplay
René Magritte
The Crystal Palace
The Hallucinogenic Toreador


section

ミロのヴィーナス

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark , "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Prompt: ミロのヴィーナスの受付を説明してください。英語で出力して下さい。

Aphrodite
Aphrodite of Knidos
Arman
Blonde Venus
Clara Bow
Clarence Sinclair Bull
Clive Barker
Erwin Blumenfeld
Eva Green
Hellenistic period
Honoré Daumier
International Klein Blue
Jean Harlow
Jim Dine
Joan Crawford
Kellogg's
Kenneth Clark
Liberty Leading the People
Louvre
Marlene Dietrich
Martin Robertson
Max Ernst
Max Klinger
Mercedes-Benz
Napoleonic Wars
Photoplay
René Magritte
The Crystal Palace
The Hallucinogenic Toreador


section

ミロのヴィーナス

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark , "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Prompt: ミロのヴィーナスはどのように受付を説明していますか？英語で出力して下さい。

Aphrodite
Aphrodite of Knidos
Arman
Blonde Venus
Clara Bow
Clarence Sinclair Bull
Clive Barker
Erwin Blumenfeld
Eva Green
Hellenistic period
Honoré Daumier
International Klein Blue
Jean Harlow
Jim Dine
Joan Crawford
Kellogg's
Kenneth Clark
Liberty Leading the People
Louvre
Marlene Dietrich
Martin Robertson
Max Ernst
Max Klinger
Mercedes-Benz
Napoleonic Wars
Photoplay
René Magritte
The Crystal Palace
The Hallucinogenic Toreador


section

ミロのヴィーナス

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark , "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Prompt: ミロのヴィーナスに関して、どのように受付が議論されていますか？英語で出力して下さい。

Aphrodite
Aphrodite of Knidos
Arman
Blonde Venus
Clara Bow
Clarence Sinclair Bull
Clive Barker
Erwin Blumenfeld
Eva Green
Hellenistic period
Honoré Daumier
International Klein Blue
Jean Harlow
Jim Dine
Joan Crawford
Kellogg's
Kenneth Clark
Liberty Leading the People
Louvre
Marlene Dietrich
Martin Robertson
Max Ernst
Max Klinger
Mercedes-Benz
Napoleonic Wars
Photoplay
René Magritte
The Crystal Palace
The Hallucinogenic Toreador


subsection

ミロのヴィーナス

The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to , between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to , and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. In 1901, Friedrich Hiller von Gaertringen argued for the restoration of the name as Alexandros, and associated the sculptor with a poet Alexandros, also from the Maeander region, who is named on an inscription from the Valley of the Muses at Thespiae.}} The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to .  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests . The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.

Prompt: ミロのヴィーナスの文脈で、識別と表示を説明してください。英語で出力して下さい。

Adolf Furtwängler
Alexandros of Antioch
Amphitrite
Antioch on the Maeander
Aphrodite
Jean-Luc Martinez
Louvre
Muses
Nemesis
Phidias
Poseidon
Poseidon of Melos
Praxiteles
Quatremère de Quincy
Sappho


subsection

ミロのヴィーナス

The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to , between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to , and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. In 1901, Friedrich Hiller von Gaertringen argued for the restoration of the name as Alexandros, and associated the sculptor with a poet Alexandros, also from the Maeander region, who is named on an inscription from the Valley of the Muses at Thespiae.}} The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to .  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests . The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.

Prompt: ミロのヴィーナスの表示に関する識別を説明してください。英語で出力して下さい。

Adolf Furtwängler
Alexandros of Antioch
Amphitrite
Antioch on the Maeander
Aphrodite
Jean-Luc Martinez
Louvre
Muses
Nemesis
Phidias
Poseidon
Poseidon of Melos
Praxiteles
Quatremère de Quincy
Sappho


subsection

ミロのヴィーナス

The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to , between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to , and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. In 1901, Friedrich Hiller von Gaertringen argued for the restoration of the name as Alexandros, and associated the sculptor with a poet Alexandros, also from the Maeander region, who is named on an inscription from the Valley of the Muses at Thespiae.}} The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to .  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests . The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.

Prompt: ミロのヴィーナスでは、どのように表示の識別が説明されていますか？英語で出力して下さい。

Adolf Furtwängler
Alexandros of Antioch
Amphitrite
Antioch on the Maeander
Aphrodite
Jean-Luc Martinez
Louvre
Muses
Nemesis
Phidias
Poseidon
Poseidon of Melos
Praxiteles
Quatremère de Quincy
Sappho


subsection

ミロのヴィーナス

The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to , between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to , and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. In 1901, Friedrich Hiller von Gaertringen argued for the restoration of the name as Alexandros, and associated the sculptor with a poet Alexandros, also from the Maeander region, who is named on an inscription from the Valley of the Muses at Thespiae.}} The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to .  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests . The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.

Prompt: ミロのヴィーナスの表示における識別の特徴を説明してください。英語で出力して下さい。

Adolf Furtwängler
Alexandros of Antioch
Amphitrite
Antioch on the Maeander
Aphrodite
Jean-Luc Martinez
Louvre
Muses
Nemesis
Phidias
Poseidon
Poseidon of Melos
Praxiteles
Quatremère de Quincy
Sappho


subsection

ミロのヴィーナス

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo<nowiki/>'s right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Prompt: ミロのヴィーナスの文脈で、再建と表示を説明してください。英語で出力して下さい。

Acrocorinth
Aphrodite
Capuan Venus
Hellenistic period


subsection

ミロのヴィーナス

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo<nowiki/>'s right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Prompt: ミロのヴィーナスの表示に関する再建を説明してください。英語で出力して下さい。

Acrocorinth
Aphrodite
Capuan Venus
Hellenistic period


subsection

ミロのヴィーナス

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo<nowiki/>'s right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Prompt: ミロのヴィーナスでは、どのように表示の再建が説明されていますか？英語で出力して下さい。

Acrocorinth
Aphrodite
Capuan Venus
Hellenistic period


subsection

ミロのヴィーナス

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo<nowiki/>'s right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Prompt: ミロのヴィーナスの表示における再建の特徴を説明してください。英語で出力して下さい。

Acrocorinth
Aphrodite
Capuan Venus
Hellenistic period


section

モナ・リザ

</ref> other_language_1 = Italian other_title_1 =  other_language_2 =  other_title_2 =  artist = Leonardo da Vinci subject = Lisa del Giocondo year = , perhaps continuing until  material = Oil on poplar panel height_metric = 77 width_metric = 53 city = Paris museum = Louvre condition = }}The Mona Lisa  is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as "the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films  and the song "Mona Lisa" recorded by Nat King Cole—one of the most successful songs of the 1950s.The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100 million in 1962, equivalent to $1 billion .

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

Francis I of France
Italian Renaissance
Italy
Francis I of France
Leonardo da Vinci
Lisa del Giocondo
Louvre
Louvre
Nat King Cole


section

モナ・リザ

</ref> other_language_1 = Italian other_title_1 =  other_language_2 =  other_title_2 =  artist = Leonardo da Vinci subject = Lisa del Giocondo year = , perhaps continuing until  material = Oil on poplar panel height_metric = 77 width_metric = 53 city = Paris museum = Louvre condition = }}The Mona Lisa  is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as "the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films  and the song "Mona Lisa" recorded by Nat King Cole—one of the most successful songs of the 1950s.The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100 million in 1962, equivalent to $1 billion .

Prompt: モナ・リザの抽象を説明してください。英語で出力して下さい。

Francis I of France
Italian Renaissance
Italy
Francis I of France
Leonardo da Vinci
Lisa del Giocondo
Louvre
Louvre
Nat King Cole


section

モナ・リザ

</ref> other_language_1 = Italian other_title_1 =  other_language_2 =  other_title_2 =  artist = Leonardo da Vinci subject = Lisa del Giocondo year = , perhaps continuing until  material = Oil on poplar panel height_metric = 77 width_metric = 53 city = Paris museum = Louvre condition = }}The Mona Lisa  is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as "the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films  and the song "Mona Lisa" recorded by Nat King Cole—one of the most successful songs of the 1950s.The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100 million in 1962, equivalent to $1 billion .

Prompt: モナ・リザ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。

Francis I of France
Italian Renaissance
Italy
Francis I of France
Leonardo da Vinci
Lisa del Giocondo
Louvre
Louvre
Nat King Cole


section

モナ・リザ

</ref> other_language_1 = Italian other_title_1 =  other_language_2 =  other_title_2 =  artist = Leonardo da Vinci subject = Lisa del Giocondo year = , perhaps continuing until  material = Oil on poplar panel height_metric = 77 width_metric = 53 city = Paris museum = Louvre condition = }}The Mona Lisa  is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as "the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films  and the song "Mona Lisa" recorded by Nat King Cole—one of the most successful songs of the 1950s.The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100 million in 1962, equivalent to $1 billion .

Prompt: モナ・リザに関して、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。

Francis I of France
Italian Renaissance
Italy
Francis I of France
Leonardo da Vinci
Lisa del Giocondo
Louvre
Louvre
Nat King Cole


section

モナ・リザ

The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain. Renaissance art historian Giorgio Vasari wrote that "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife."  in Italian is a polite form of address originating as —similar to Ma'am, Madam, or my lady in English. This became , and its contraction . The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa , but this is rare in English.Lisa del Giocondo was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, , means 'jocund'  or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated "Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre."The catalogue raisonné Leonardo da Vinci  confirms that the painting probably depicts Lisa del Giocondo, with Isabella d'Este being the only plausible alternative. Scholars have developed several alternative views, arguing that Lisa del Giocondo was the subject of a different portrait, and identifying at least four other paintings referred to by Vasari as the Mona Lisa. Several other people have been proposed as the subject of the painting, including Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Psychoanalyst Sigmund Freud theorized that Leonardo imparted an approving smile from his mother, Caterina, onto the Mona Lisa and other works.

Prompt: モナ・リザに焦点を当てて、そのタイトルと件名を説明してください。英語で出力して下さい。


section

モナ・リザ

The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain. Renaissance art historian Giorgio Vasari wrote that "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife."  in Italian is a polite form of address originating as —similar to Ma'am, Madam, or my lady in English. This became , and its contraction . The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa , but this is rare in English.Lisa del Giocondo was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, , means 'jocund'  or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated "Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre."The catalogue raisonné Leonardo da Vinci  confirms that the painting probably depicts Lisa del Giocondo, with Isabella d'Este being the only plausible alternative. Scholars have developed several alternative views, arguing that Lisa del Giocondo was the subject of a different portrait, and identifying at least four other paintings referred to by Vasari as the Mona Lisa. Several other people have been proposed as the subject of the painting, including Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Psychoanalyst Sigmund Freud theorized that Leonardo imparted an approving smile from his mother, Caterina, onto the Mona Lisa and other works.

Prompt: モナ・リザのタイトルと件名を説明してください。英語で出力して下さい。


section

モナ・リザ

The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain. Renaissance art historian Giorgio Vasari wrote that "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife."  in Italian is a polite form of address originating as —similar to Ma'am, Madam, or my lady in English. This became , and its contraction . The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa , but this is rare in English.Lisa del Giocondo was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, , means 'jocund'  or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated "Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre."The catalogue raisonné Leonardo da Vinci  confirms that the painting probably depicts Lisa del Giocondo, with Isabella d'Este being the only plausible alternative. Scholars have developed several alternative views, arguing that Lisa del Giocondo was the subject of a different portrait, and identifying at least four other paintings referred to by Vasari as the Mona Lisa. Several other people have been proposed as the subject of the painting, including Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Psychoanalyst Sigmund Freud theorized that Leonardo imparted an approving smile from his mother, Caterina, onto the Mona Lisa and other works.

Prompt: モナ・リザはどのようにタイトルと件名を説明していますか？英語で出力して下さい。


section

モナ・リザ

The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain. Renaissance art historian Giorgio Vasari wrote that "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife."  in Italian is a polite form of address originating as —similar to Ma'am, Madam, or my lady in English. This became , and its contraction . The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa , but this is rare in English.Lisa del Giocondo was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, , means 'jocund'  or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated "Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre."The catalogue raisonné Leonardo da Vinci  confirms that the painting probably depicts Lisa del Giocondo, with Isabella d'Este being the only plausible alternative. Scholars have developed several alternative views, arguing that Lisa del Giocondo was the subject of a different portrait, and identifying at least four other paintings referred to by Vasari as the Mona Lisa. Several other people have been proposed as the subject of the painting, including Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Psychoanalyst Sigmund Freud theorized that Leonardo imparted an approving smile from his mother, Caterina, onto the Mona Lisa and other works.

Prompt: モナ・リザに関して、どのようにタイトルと件名が議論されていますか？英語で出力して下さい。


section

モナ・リザ

The Mona Lisa bears a strong resemblance to many Renaissance depictions of the Virgin Mary, who was at that time seen as an ideal for womanhood.The depiction of the sitter in three-quarter profile is similar to late 15th-century works by Lorenzo di Credi and Agnolo di Domenico del Mazziere. Zöllner notes that the sitter's general position can be traced back to Flemish models and that "in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture." Woods-Marsden cites Hans Memling's portrait of Benedetto Portinari  or Italian imitations such as Sebastiano Mainardi's pendant portraits for the use of a loggia, which has the effect of mediating between the sitter and the distant landscape, a feature missing from Leonardo's earlier portrait of Ginevra de' Benci.The painting was one of the first Italian portraits to depict the sitter in front of an imaginary landscape, although some scholars favor a realistic description, and Leonardo was one of the first painters to use aerial perspective. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her, a vast landscape recedes to icy mountains, winding paths and a distant bridge, giving only the slightest indications of human presence. Leonardo has chosen to place the horizon line not at the neck, as he did with Ginevra de' Benci, but on a level with the eyes, thus linking the figure with the landscape and emphasizing the mysterious nature of the painting. Other bridges with similar arches suggested as possible locations had more arches.</ref>}} In 2007, French engineer Pascal Cotte announced that his ultra-high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning. Cotte discovered that the painting had been reworked several times, with changes made to the size of the face and the direction of gaze. He also found that in one layer the subject was depicted wearing numerous hairpins and a headdress adorned with pearls which was later scrubbed out and overpainted.There has been much speculation regarding the painting's model and landscape. For example, Leonardo probably painted his model faithfully since her beauty is not seen as being among the best, "even when measured by late quattrocento  or even twenty-first century standards." Some historians in Eastern art, such as Yukio Yashiro, argue that the landscape in the background of the picture was influenced by Chinese paintings,Research in 2003 by Professor Margaret Livingstone of Harvard University said that Mona Lisa's smile disappears when observed with direct vision, known as foveal. Because of the way the human eye processes visual information, it is less suited to pick up shadows directly; however, peripheral vision can pick up shadows well.Research in 2008 by a geomorphology professor at Urbino University and an artist-photographer revealed that Mona Lisas landscape was similar to some views in the Montefeltro region in the Italian provinces of Pesaro and Urbino, and Rimini. Research in 2023/2024 by geologist and art historian Ann Pizzorusso suggests that the landscape contains "several recognisable features of Lecco, on the shores of ke Como in the Lombardy region of northern Italy.".

Prompt: モナ・リザに焦点を当てて、その説明を説明してください。英語で出力して下さい。

Agnolo di Domenico del Mazziere
Chinese painting
Ginevra de' Benci
Hans Memling
Harvard University
Italy
Lecco
Lombardy
Lorenzo di Credi
Margaret Livingstone
Montefeltro