section

奏楽者たち (カラヴァッジョ)

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Prompt: 奏楽者たち (カラヴァッジョ)はどのようにパトロンを説明していますか？英語で出力して下さい。

Accademia di San Luca
Andrea Sacchi
Baroque
Caravaggio
Renaissance


section

奏楽者たち (カラヴァッジョ)

Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, and The Musicians is thought to have been his first painting done expressly for the cardinal.Cardinal del Monte's impact on Caravaggio's artistic career during its early stages has been heavily studied due to his significant involvement as a supporter. Furthermore, his preference for particular artists, such as Andrea Sacchi, and active participation in the Accademia di San Luca are commonly recognized.Del Monte's strong enthusiasm for music was viewed as a vital aspect of education for Renaissance individuals of high social status. According to a sixteenth-century manuscript detailing the life of a respected Italian nobleman and soldier, music was deemed necessary for aristocratic behavior. This would provide motivation for commissioning art and helping Caravaggio become immersed in the Baroque scene of music. The impact of del Monte's commissions would create an outlet for Caravaggio to gain first-hand experience in scenes often meant for the aristocracy to enjoy. Giving Caravaggio this perspective provided an accurate source for rendering and capturing the moods and emotions attached to the baroque movement and music.

Prompt: 奏楽者たち (カラヴァッジョ)に関して、どのようにパトロンが議論されていますか？英語で出力して下さい。

Accademia di San Luca
Andrea Sacchi
Baroque
Caravaggio
Renaissance


section

奏楽者たち (カラヴァッジョ)

The picture displays four boys in classical costume : three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes.

Prompt: 奏楽者たち (カラヴァッジョ)に焦点を当てて、その説明と解釈を説明してください。英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

The picture displays four boys in classical costume : three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes.

Prompt: 奏楽者たち (カラヴァッジョ)の説明と解釈を説明してください。英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

The picture displays four boys in classical costume : three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes.

Prompt: 奏楽者たち (カラヴァッジョ)はどのように説明と解釈を説明していますか？英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

The picture displays four boys in classical costume : three figures playing various musical instruments or singing and the fourth dressed as Cupid and reaching towards some grapes.

Prompt: 奏楽者たち (カラヴァッジョ)に関して、どのように説明と解釈が議論されていますか？英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Prompt: 奏楽者たち (カラヴァッジョ)に焦点を当てて、その歴史的文脈を説明してください。英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Prompt: 奏楽者たち (カラヴァッジョ)の歴史的文脈を説明してください。英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Prompt: 奏楽者たち (カラヴァッジョ)はどのように歴史的文脈を説明していますか？英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

Scenes showing musicians were a popular theme at the time—the Church was supporting a revival of music and new styles and forms were being tried, especially by educated and progressive prelates such as Del Monte.The notion that experiencing various moods through music can promote emotional stability and overall well-being was widely held at this time. This is important in the painting; the mood and emotions conveyed on the face of the centered figure speaks largely to the importance of Baroque music. The rendering of instruments in the piece and the music sheets displayed are indicators of Caravaggio's ability to depict the important changes taking place within music and Cardinal del Monte's love for the emotion in Baroque music.The importance of music was vital and created a pathway for Caravaggio to navigate Baroque music with the help of del Monte. Music proved to be important to both artist and patron when it came to artistic rendering due to the movement ability to showcase the patrons wealth and interests when he hosted visitors in his home. When visitors saw this painting or others including The Lute Player, it would speak largely to the Cardinal's taste, wealth and interests. This also bolstered Caravaggio in the genre of paintings of music and benefited his career.

Prompt: 奏楽者たち (カラヴァッジョ)に関して、どのように歴史的文脈が議論されていますか？英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely.

Prompt: 奏楽者たち (カラヴァッジョ)に焦点を当てて、その失われた物語の回復を説明してください。英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely.

Prompt: 奏楽者たち (カラヴァッジョ)の失われた物語の回復を説明してください。英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely.

Prompt: 奏楽者たち (カラヴァッジョ)はどのように失われた物語の回復を説明していますか？英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

A project that took place in 1997, by contemporary artists Kathleen Gilje and Joseph Grigely.

Prompt: 奏楽者たち (カラヴァッジョ)に関して、どのように失われた物語の回復が議論されていますか？英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Prompt: 奏楽者たち (カラヴァッジョ)に焦点を当てて、そのオーストラリアへのローンを説明してください。英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Prompt: 奏楽者たち (カラヴァッジョ)のオーストラリアへのローンを説明してください。英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Prompt: 奏楽者たち (カラヴァッジョ)はどのようにオーストラリアへのローンを説明していますか？英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

During the COVID-19 pandemic, the museum began a skylight replacement project that resulted in gallery closures, in response the Met loaned major works from the European collection, including 'The Musicians', to Qagoma in an exhibition titled 'European Masterpieces'.

Prompt: 奏楽者たち (カラヴァッジョ)に関して、どのようにオーストラリアへのローンが議論されていますか？英語で出力して下さい。


section

奏楽者たち (カラヴァッジョ)

Prompt: 奏楽者たち (カラヴァッジョ)に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

奏楽者たち (カラヴァッジョ)

Prompt: 奏楽者たち (カラヴァッジョ)の参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

奏楽者たち (カラヴァッジョ)

Prompt: 奏楽者たち (カラヴァッジョ)はどのように参照を説明していますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

奏楽者たち (カラヴァッジョ)

Prompt: 奏楽者たち (カラヴァッジョ)に関して、どのように参照が議論されていますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


subsection

奏楽者たち (カラヴァッジョ)

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Prompt: 奏楽者たち (カラヴァッジョ)の文脈で、起源とパトロンを説明してください。英語で出力して下さい。

Cardinal Richelieu
Jacob S. Rogers
Metropolitan Museum of Art


subsection

奏楽者たち (カラヴァッジョ)

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Prompt: 奏楽者たち (カラヴァッジョ)のパトロンに関する起源を説明してください。英語で出力して下さい。

Cardinal Richelieu
Jacob S. Rogers
Metropolitan Museum of Art


subsection

奏楽者たち (カラヴァッジョ)

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Prompt: 奏楽者たち (カラヴァッジョ)では、どのようにパトロンの起源が説明されていますか？英語で出力して下さい。

Cardinal Richelieu
Jacob S. Rogers
Metropolitan Museum of Art


subsection

奏楽者たち (カラヴァッジョ)

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Prompt: 奏楽者たち (カラヴァッジョ)のパトロンにおける起源の特徴を説明してください。英語で出力して下さい。

Cardinal Richelieu
Jacob S. Rogers
Metropolitan Museum of Art


subsection

奏楽者たち (カラヴァッジョ)

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Prompt: 奏楽者たち (カラヴァッジョ)の文脈で、図像学と象徴学とパトロンを説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Prompt: 奏楽者たち (カラヴァッジョ)のパトロンに関する図像学と象徴学を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Prompt: 奏楽者たち (カラヴァッジョ)では、どのようにパトロンの図像学と象徴学が説明されていますか？英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Prompt: 奏楽者たち (カラヴァッジョ)のパトロンにおける図像学と象徴学の特徴を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Prompt: 奏楽者たち (カラヴァッジョ)の文脈で、図形の識別とパトロンを説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Prompt: 奏楽者たち (カラヴァッジョ)のパトロンに関する図形の識別を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Prompt: 奏楽者たち (カラヴァッジョ)では、どのようにパトロンの図形の識別が説明されていますか？英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Prompt: 奏楽者たち (カラヴァッジョ)のパトロンにおける図形の識別の特徴を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Prompt: 奏楽者たち (カラヴァッジョ)の文脈で、起源と説明と解釈を説明してください。英語で出力して下さい。

Cardinal Richelieu
Jacob S. Rogers
Metropolitan Museum of Art


subsection

奏楽者たち (カラヴァッジョ)

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Prompt: 奏楽者たち (カラヴァッジョ)の説明と解釈に関する起源を説明してください。英語で出力して下さい。

Cardinal Richelieu
Jacob S. Rogers
Metropolitan Museum of Art


subsection

奏楽者たち (カラヴァッジョ)

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Prompt: 奏楽者たち (カラヴァッジョ)では、どのように説明と解釈の起源が説明されていますか？英語で出力して下さい。

Cardinal Richelieu
Jacob S. Rogers
Metropolitan Museum of Art


subsection

奏楽者たち (カラヴァッジョ)

After Cardinal Del Monte's death, this painting was sold on May 8, 1628 and changed hands a few more time before being inventoried in 1638 by Cardinal Richelieu and by the Duchesse d'Aiguillon in whose collection it remained until 1657. This painting disappeared at one point in time and the whereabouts were unknown. According to the catalog entry at the Metropolitan Museum of Art, New York, a museum benefactor, Jacob S. Rogers purchased it from a house sale in 1952.It is now held in the Metropolitan Museum of Art, New York, where it has been since 1952. It underwent extensive restoration in 1983.

Prompt: 奏楽者たち (カラヴァッジョ)の説明と解釈における起源の特徴を説明してください。英語で出力して下さい。

Cardinal Richelieu
Jacob S. Rogers
Metropolitan Museum of Art


subsection

奏楽者たち (カラヴァッジョ)

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Prompt: 奏楽者たち (カラヴァッジョ)の文脈で、図像学と象徴学と説明と解釈を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Prompt: 奏楽者たち (カラヴァッジョ)の説明と解釈に関する図像学と象徴学を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Prompt: 奏楽者たち (カラヴァッジョ)では、どのように説明と解釈の図像学と象徴学が説明されていますか？英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Cupid is often referred to as an allegory for love, for this piece his presence conveys him as absent minded while picking at his grapes. Perhaps this is an indication of Cupid's need for sustenance and a possible message about the center figure's need for love.The figures are painted sitting closely together to create an intimate setting but this also provides a personal perspective for the viewer. The details of each figure can be seen more distinctly, dirt under their fingernails and their faces blushed and red. The manuscripts show that the boys are practicing madrigals celebrating love, and the eyes of the lutenist, the principal figure, are moist with tears—the songs presumably describe the sorrow of love rather than its pleasures. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau.

Prompt: 奏楽者たち (カラヴァッジョ)の説明と解釈における図像学と象徴学の特徴を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Prompt: 奏楽者たち (カラヴァッジョ)の文脈で、図形の識別と説明と解釈を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Prompt: 奏楽者たち (カラヴァッジョ)の説明と解釈に関する図形の識別を説明してください。英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Prompt: 奏楽者たち (カラヴァッジョ)では、どのように説明と解釈の図形の識別が説明されていますか？英語で出力して下さい。


subsection

奏楽者たち (カラヴァッジョ)

Caravaggio seems to have composed the painting from studies of two figures. The central figure with the lute has been identified as Caravaggio's companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. Caravaggio believed in the concept of "ritrarre dal naturale," or painting from life, rather than using the intellect or idea as inspiration Caravaggio often painted natural looking figures from everyday life instead of idealized figures from the imagination. Caravaggio's style was not always accepted by the elites, buyers, and fellow artists because of this.He was known for painting his subjects and models right on to his canvases without sketching first. This was seen as unconventional for his time but he would break the boundaries of traditional Renaissance painting by creating works of art that depicted people in a way that was natural and reflected everyday people.Caravaggio applied a precise approach when painting the models in his pieces, including non-human subjects such as still life. These models shared the same level of individuality as the human models but were subject to revision by the artist. The selection of human models appeared to be based on their facial features and the characteristics associated with their appearance. Caravaggio used his models in repetitive roles, assigning them to roles that contradicted their physiognomy.

Prompt: 奏楽者たち (カラヴァッジョ)の説明と解釈における図形の識別の特徴を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

type               = Sculpture material           = Marble height_metric      = 182 metric_unit        = cm imperial_unit      = in city               = London museum             = Victoria and Albert Museum coordinates        =  preceded_by        = Aeneas, Anchises, and Ascanius followed_by        = The Rape of Proserpina}}Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm  in height.

Prompt: ネプチューンとトリトンに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Gian Lorenzo Bernini
Victoria and Albert Museum


section

ネプチューンとトリトン

type               = Sculpture material           = Marble height_metric      = 182 metric_unit        = cm imperial_unit      = in city               = London museum             = Victoria and Albert Museum coordinates        =  preceded_by        = Aeneas, Anchises, and Ascanius followed_by        = The Rape of Proserpina}}Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm  in height.

Prompt: ネプチューンとトリトンの抽象を説明してください。英語で出力して下さい。

Gian Lorenzo Bernini
Victoria and Albert Museum


section

ネプチューンとトリトン

type               = Sculpture material           = Marble height_metric      = 182 metric_unit        = cm imperial_unit      = in city               = London museum             = Victoria and Albert Museum coordinates        =  preceded_by        = Aeneas, Anchises, and Ascanius followed_by        = The Rape of Proserpina}}Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm  in height.

Prompt: ネプチューンとトリトンはどのように抽象を説明していますか？英語で出力して下さい。

Gian Lorenzo Bernini
Victoria and Albert Museum


section

ネプチューンとトリトン

type               = Sculpture material           = Marble height_metric      = 182 metric_unit        = cm imperial_unit      = in city               = London museum             = Victoria and Albert Museum coordinates        =  preceded_by        = Aeneas, Anchises, and Ascanius followed_by        = The Rape of Proserpina}}Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm  in height.

Prompt: ネプチューンとトリトンに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Gian Lorenzo Bernini
Victoria and Albert Museum


section

ネプチューンとトリトン

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome.

Prompt: ネプチューンとトリトンに焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome.

Prompt: ネプチューンとトリトンの歴史を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome.

Prompt: ネプチューンとトリトンはどのように歴史を説明していますか？英語で出力して下さい。


section

ネプチューンとトリトン

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome.

Prompt: ネプチューンとトリトンに関して、どのように歴史が議論されていますか？英語で出力して下さい。


section

ネプチューンとトリトン

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Prompt: ネプチューンとトリトンに焦点を当てて、その文学的な参照を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Prompt: ネプチューンとトリトンの文学的な参照を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Prompt: ネプチューンとトリトンはどのように文学的な参照を説明していますか？英語で出力して下さい。


section

ネプチューンとトリトン

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Prompt: ネプチューンとトリトンに関して、どのように文学的な参照が議論されていますか？英語で出力して下さい。


section

ネプチューンとトリトン

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, as it was his "first work in which the silhouette  is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism  in his subsequent works.

Prompt: ネプチューンとトリトンに焦点を当てて、その図像学を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, as it was his "first work in which the silhouette  is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism  in his subsequent works.

Prompt: ネプチューンとトリトンの図像学を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, as it was his "first work in which the silhouette  is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism  in his subsequent works.

Prompt: ネプチューンとトリトンはどのように図像学を説明していますか？英語で出力して下さい。


section

ネプチューンとトリトン

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, as it was his "first work in which the silhouette  is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism  in his subsequent works.

Prompt: ネプチューンとトリトンに関して、どのように図像学が議論されていますか？英語で出力して下さい。


section

ネプチューンとトリトン

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Prompt: ネプチューンとトリトンに焦点を当てて、その自然主義を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Prompt: ネプチューンとトリトンの自然主義を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Prompt: ネプチューンとトリトンはどのように自然主義を説明していますか？英語で出力して下さい。


section

ネプチューンとトリトン

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Prompt: ネプチューンとトリトンに関して、どのように自然主義が議論されていますか？英語で出力して下さい。


section

ネプチューンとトリトン

Prompt: ネプチューンとトリトンに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

ネプチューンとトリトン

Prompt: ネプチューンとトリトンの参照を説明してください。英語で出力して下さい。

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

ネプチューンとトリトン

Prompt: ネプチューンとトリトンはどのように参照を説明していますか？英語で出力して下さい。

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

ネプチューンとトリトン

Prompt: ネプチューンとトリトンに関して、どのように参照が議論されていますか？英語で出力して下さい。

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

ネプチューンとトリトン

Prompt: ネプチューンとトリトンに焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

Prompt: ネプチューンとトリトンの参考文献を説明してください。英語で出力して下さい。


section

ネプチューンとトリトン

Prompt: ネプチューンとトリトンはどのように参考文献を説明していますか？英語で出力して下さい。


section

ネプチューンとトリトン

Prompt: ネプチューンとトリトンに関して、どのように参考文献が議論されていますか？英語で出力して下さい。


subsection

ネプチューンとトリトン

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins , as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Prompt: ネプチューンとトリトンの文脈で、海王星と図像学を説明してください。英語で出力して下さい。


subsection

ネプチューンとトリトン

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins , as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Prompt: ネプチューンとトリトンの図像学に関する海王星を説明してください。英語で出力して下さい。


subsection

ネプチューンとトリトン

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins , as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Prompt: ネプチューンとトリトンでは、どのように図像学の海王星が説明されていますか？英語で出力して下さい。


subsection

ネプチューンとトリトン

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins , as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Prompt: ネプチューンとトリトンの図像学における海王星の特徴を説明してください。英語で出力して下さい。


subsection

ネプチューンとトリトン

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Prompt: ネプチューンとトリトンの文脈で、トリトンと図像学を説明してください。英語で出力して下さい。


subsection

ネプチューンとトリトン

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Prompt: ネプチューンとトリトンの図像学に関するトリトンを説明してください。英語で出力して下さい。


subsection

ネプチューンとトリトン

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Prompt: ネプチューンとトリトンでは、どのように図像学のトリトンが説明されていますか？英語で出力して下さい。


subsection

ネプチューンとトリトン

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Prompt: ネプチューンとトリトンの図像学におけるトリトンの特徴を説明してください。英語で出力して下さい。


section

アテナイの学堂

The School of Athens  is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the  in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Prompt: アテナイの学堂に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Ancient Greek philosophy
Apostolic Palace
Archimedes
Aristotle
Averroes
Heraclitus
Italian Renaissance
Leonardo da Vinci
Michelangelo
Plato
Pope Julius II
Ptolemy
Pythagoras
Raphael
Socrates
Vatican City


section

アテナイの学堂

The School of Athens  is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the  in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Prompt: アテナイの学堂の抽象を説明してください。英語で出力して下さい。

Ancient Greek philosophy
Apostolic Palace
Archimedes
Aristotle
Averroes
Heraclitus
Italian Renaissance
Leonardo da Vinci
Michelangelo
Plato
Pope Julius II
Ptolemy
Pythagoras
Raphael
Socrates
Vatican City


section

アテナイの学堂

The School of Athens  is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the  in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Prompt: アテナイの学堂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。

Ancient Greek philosophy
Apostolic Palace
Archimedes
Aristotle
Averroes
Heraclitus
Italian Renaissance
Leonardo da Vinci
Michelangelo
Plato
Pope Julius II
Ptolemy
Pythagoras
Raphael
Socrates
Vatican City


section

アテナイの学堂

The School of Athens  is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the  in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Prompt: アテナイの学堂に関して、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。

Ancient Greek philosophy
Apostolic Palace
Archimedes
Aristotle
Averroes
Heraclitus
Italian Renaissance
Leonardo da Vinci
Michelangelo
Plato
Pope Julius II
Ptolemy
Pythagoras
Raphael
Socrates
Vatican City


section

アテナイの学堂

The  was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after   on the opposite wall, and the Parnassus .The School of Athens is one of a group of four main frescoes on the walls of the Stanza  that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" , "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry , theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing  is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has even recently been interpreted as an exhortation to philosophy and, in a deeper way, as a visual representation of the role of Love in elevating people toward upper knowledge, largely in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante , which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo, in the role of Heraclitus, shows varicose veins in the legs.

Prompt: アテナイの学堂に焦点を当てて、そのプログラム, 科目, 図形識別と解釈を説明してください。英語で出力して下さい。

Aristotle
Epicurus
Giorgio Vasari
Heinrich Wölfflin
Heraclitus
Marsilio Ficino
Michelangelo
Paolo Zamboni
Philosophy
Plato
Pope Julius II
Pythagoras
Raphael
Socrates
University of Ferrara
Zoroaster
Zoroaster


section

アテナイの学堂

The  was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after   on the opposite wall, and the Parnassus .The School of Athens is one of a group of four main frescoes on the walls of the Stanza  that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" , "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry , theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing  is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has even recently been interpreted as an exhortation to philosophy and, in a deeper way, as a visual representation of the role of Love in elevating people toward upper knowledge, largely in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante , which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo, in the role of Heraclitus, shows varicose veins in the legs.

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈を説明してください。英語で出力して下さい。

Aristotle
Epicurus
Giorgio Vasari
Heinrich Wölfflin
Heraclitus
Marsilio Ficino
Michelangelo
Paolo Zamboni
Philosophy
Plato
Pope Julius II
Pythagoras
Raphael
Socrates
University of Ferrara
Zoroaster
Zoroaster


section

アテナイの学堂

The  was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after   on the opposite wall, and the Parnassus .The School of Athens is one of a group of four main frescoes on the walls of the Stanza  that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" , "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry , theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing  is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has even recently been interpreted as an exhortation to philosophy and, in a deeper way, as a visual representation of the role of Love in elevating people toward upper knowledge, largely in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante , which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo, in the role of Heraclitus, shows varicose veins in the legs.

Prompt: アテナイの学堂はどのようにプログラム, 科目, 図形識別と解釈を説明していますか？英語で出力して下さい。

Aristotle
Epicurus
Giorgio Vasari
Heinrich Wölfflin
Heraclitus
Marsilio Ficino
Michelangelo
Paolo Zamboni
Philosophy
Plato
Pope Julius II
Pythagoras
Raphael
Socrates
University of Ferrara
Zoroaster
Zoroaster


section

アテナイの学堂

The  was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after   on the opposite wall, and the Parnassus .The School of Athens is one of a group of four main frescoes on the walls of the Stanza  that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" , "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry , theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing  is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has even recently been interpreted as an exhortation to philosophy and, in a deeper way, as a visual representation of the role of Love in elevating people toward upper knowledge, largely in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante , which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo, in the role of Heraclitus, shows varicose veins in the legs.

Prompt: アテナイの学堂に関して、どのようにプログラム, 科目, 図形識別と解釈が議論されていますか？英語で出力して下さい。

Aristotle
Epicurus
Giorgio Vasari
Heinrich Wölfflin
Heraclitus
Marsilio Ficino
Michelangelo
Paolo Zamboni
Philosophy
Plato
Pope Julius II
Pythagoras
Raphael
Socrates
University of Ferrara
Zoroaster
Zoroaster


section

アテナイの学堂

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield,</ref>}} the statue of Athena  and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Prompt: アテナイの学堂に焦点を当てて、その絵と漫画を説明してください。英語で出力して下さい。

Albertina
Apollo
Ashmolean Museum
Athena
Euclid
Frankfurt
Heraclitus
Marcantonio Raimondi
Medusa
Milan
Protogenes
Pythagoras
Raphael
Städel
University of Oxford
Vienna


section

アテナイの学堂

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield,</ref>}} the statue of Athena  and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Prompt: アテナイの学堂の絵と漫画を説明してください。英語で出力して下さい。

Albertina
Apollo
Ashmolean Museum
Athena
Euclid
Frankfurt
Heraclitus
Marcantonio Raimondi
Medusa
Milan
Protogenes
Pythagoras
Raphael
Städel
University of Oxford
Vienna


section

アテナイの学堂

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield,</ref>}} the statue of Athena  and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Prompt: アテナイの学堂はどのように絵と漫画を説明していますか？英語で出力して下さい。

Albertina
Apollo
Ashmolean Museum
Athena
Euclid
Frankfurt
Heraclitus
Marcantonio Raimondi
Medusa
Milan
Protogenes
Pythagoras
Raphael
Städel
University of Oxford
Vienna


section

アテナイの学堂

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield,</ref>}} the statue of Athena  and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Prompt: アテナイの学堂に関して、どのように絵と漫画が議論されていますか？英語で出力して下さい。

Albertina
Apollo
Ashmolean Museum
Athena
Euclid
Frankfurt
Heraclitus
Marcantonio Raimondi
Medusa
Milan
Protogenes
Pythagoras
Raphael
Städel
University of Oxford
Vienna


section

アテナイの学堂

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Prompt: アテナイの学堂に焦点を当てて、そのコピーを説明してください。英語で出力して下さい。


section

アテナイの学堂

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Prompt: アテナイの学堂のコピーを説明してください。英語で出力して下さい。


section

アテナイの学堂

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Prompt: アテナイの学堂はどのようにコピーを説明していますか？英語で出力して下さい。


section

アテナイの学堂

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Prompt: アテナイの学堂に関して、どのようにコピーが議論されていますか？英語で出力して下さい。