section

シモネッタ・ヴェスプッチの肖像

The subject is a young girl portrayed at half length in profile, facing left. Her breasts are bared and a small snake twines around the necklace she is wearing. In the background is an open landscape, arid on the left and lush on the right. The dark clouds are a symbol of her early death, as is the dead tree in the background. At the base of the painting is a border with an inscription that mimics carved letters, a method used in art since the Flemish painter Jan van Eyck at the beginning of the century; it reads: SIMONETTA IANUENSIS VESPUCCIA.The dark clouds contrast with the pure profile of the face and the clear complexion. It is traditionally identified as a portrait of Simonetta. Giorgio Vasari regarded her as portraying Cleopatra, because of the toplessness and the snake, which he identified with the asp with which, according to Plutarch, Cleopatra committed suicide. However, the art historian Norbert Schneider regards it as more likely that the iconography of the portrait derives from that in late Classical antiquity, in which the snake, especially biting its own tail, symbolized the cycle of time and hence rejuvenation, and was thus associated with Janus, the Roman god of the new year, and with Saturn, who became a "Father Time" figure because his Greek name, Kronos, was conflated with Chronos, meaning "time". The inscription refers to Simonetta as Januensis . The snake was also the symbol of Prudentia; in that interpretation, it would be praise for Simonetta's wisdom.An alternative suggestion is that she is presented as Proserpina, with the snake symbolizing the pagans' hope of resurrection.The bust, in 15th-century style, is slightly turned towards the spectator, so as to favour the view, and her shoulders are wrapped in a richly embroidered cloth. According to Schneider, her naked breasts would not have caused any offense to contemporary viewers. They were rather an allusion to Venus Pudica, or the "chaste" Venus, and in Paris Bordone's allegories of lovers  toplessness is a symbol of the wedding.Her features have a surprising purity. The forehead is high, according to the fashion of the time which included a shaved hairline. The hairstyle is that of a married woman, gathered up in braids and richly decorated with ribbons, beads, and pearls.

Prompt: シモネッタ・ヴェスプッチの肖像のスタイルを説明してください。英語で出力して下さい。

Cleopatra
Giorgio Vasari
Jan van Eyck
Janus
Paris Bordone
Plutarch
Proserpina


section

シモネッタ・ヴェスプッチの肖像

The subject is a young girl portrayed at half length in profile, facing left. Her breasts are bared and a small snake twines around the necklace she is wearing. In the background is an open landscape, arid on the left and lush on the right. The dark clouds are a symbol of her early death, as is the dead tree in the background. At the base of the painting is a border with an inscription that mimics carved letters, a method used in art since the Flemish painter Jan van Eyck at the beginning of the century; it reads: SIMONETTA IANUENSIS VESPUCCIA.The dark clouds contrast with the pure profile of the face and the clear complexion. It is traditionally identified as a portrait of Simonetta. Giorgio Vasari regarded her as portraying Cleopatra, because of the toplessness and the snake, which he identified with the asp with which, according to Plutarch, Cleopatra committed suicide. However, the art historian Norbert Schneider regards it as more likely that the iconography of the portrait derives from that in late Classical antiquity, in which the snake, especially biting its own tail, symbolized the cycle of time and hence rejuvenation, and was thus associated with Janus, the Roman god of the new year, and with Saturn, who became a "Father Time" figure because his Greek name, Kronos, was conflated with Chronos, meaning "time". The inscription refers to Simonetta as Januensis . The snake was also the symbol of Prudentia; in that interpretation, it would be praise for Simonetta's wisdom.An alternative suggestion is that she is presented as Proserpina, with the snake symbolizing the pagans' hope of resurrection.The bust, in 15th-century style, is slightly turned towards the spectator, so as to favour the view, and her shoulders are wrapped in a richly embroidered cloth. According to Schneider, her naked breasts would not have caused any offense to contemporary viewers. They were rather an allusion to Venus Pudica, or the "chaste" Venus, and in Paris Bordone's allegories of lovers  toplessness is a symbol of the wedding.Her features have a surprising purity. The forehead is high, according to the fashion of the time which included a shaved hairline. The hairstyle is that of a married woman, gathered up in braids and richly decorated with ribbons, beads, and pearls.

Prompt: シモネッタ・ヴェスプッチの肖像はどのようにスタイルを説明していますか？英語で出力して下さい。

Cleopatra
Giorgio Vasari
Jan van Eyck
Janus
Paris Bordone
Plutarch
Proserpina


section

シモネッタ・ヴェスプッチの肖像

The subject is a young girl portrayed at half length in profile, facing left. Her breasts are bared and a small snake twines around the necklace she is wearing. In the background is an open landscape, arid on the left and lush on the right. The dark clouds are a symbol of her early death, as is the dead tree in the background. At the base of the painting is a border with an inscription that mimics carved letters, a method used in art since the Flemish painter Jan van Eyck at the beginning of the century; it reads: SIMONETTA IANUENSIS VESPUCCIA.The dark clouds contrast with the pure profile of the face and the clear complexion. It is traditionally identified as a portrait of Simonetta. Giorgio Vasari regarded her as portraying Cleopatra, because of the toplessness and the snake, which he identified with the asp with which, according to Plutarch, Cleopatra committed suicide. However, the art historian Norbert Schneider regards it as more likely that the iconography of the portrait derives from that in late Classical antiquity, in which the snake, especially biting its own tail, symbolized the cycle of time and hence rejuvenation, and was thus associated with Janus, the Roman god of the new year, and with Saturn, who became a "Father Time" figure because his Greek name, Kronos, was conflated with Chronos, meaning "time". The inscription refers to Simonetta as Januensis . The snake was also the symbol of Prudentia; in that interpretation, it would be praise for Simonetta's wisdom.An alternative suggestion is that she is presented as Proserpina, with the snake symbolizing the pagans' hope of resurrection.The bust, in 15th-century style, is slightly turned towards the spectator, so as to favour the view, and her shoulders are wrapped in a richly embroidered cloth. According to Schneider, her naked breasts would not have caused any offense to contemporary viewers. They were rather an allusion to Venus Pudica, or the "chaste" Venus, and in Paris Bordone's allegories of lovers  toplessness is a symbol of the wedding.Her features have a surprising purity. The forehead is high, according to the fashion of the time which included a shaved hairline. The hairstyle is that of a married woman, gathered up in braids and richly decorated with ribbons, beads, and pearls.

Prompt: シモネッタ・ヴェスプッチの肖像に関して、どのようにスタイルが議論されていますか？英語で出力して下さい。

Cleopatra
Giorgio Vasari
Jan van Eyck
Janus
Paris Bordone
Plutarch
Proserpina


section

シモネッタ・ヴェスプッチの肖像

It is uncertain how closely the painting resembles Simonetta Vespucci, particularly since if it is a portrait of her, it is posthumous, having been painted about 14 years after her death. When she died, Piero di Cosimo was only 14 years old, so it is possible that it could be a copy of a work by an earlier artist.The Musée Condé questions the identification of the subject, titling the painting Portrait of a woman, said to be of Simonetta Vespucci, and stating that the inscription of her name at the bottom of the painting may have been added at a later date.

Prompt: シモネッタ・ヴェスプッチの肖像に焦点を当てて、その被験者の身元を説明してください。英語で出力して下さい。

Musée Condé
Piero di Cosimo
Simonetta Vespucci


section

シモネッタ・ヴェスプッチの肖像

It is uncertain how closely the painting resembles Simonetta Vespucci, particularly since if it is a portrait of her, it is posthumous, having been painted about 14 years after her death. When she died, Piero di Cosimo was only 14 years old, so it is possible that it could be a copy of a work by an earlier artist.The Musée Condé questions the identification of the subject, titling the painting Portrait of a woman, said to be of Simonetta Vespucci, and stating that the inscription of her name at the bottom of the painting may have been added at a later date.

Prompt: シモネッタ・ヴェスプッチの肖像の被験者の身元を説明してください。英語で出力して下さい。

Musée Condé
Piero di Cosimo
Simonetta Vespucci


section

シモネッタ・ヴェスプッチの肖像

It is uncertain how closely the painting resembles Simonetta Vespucci, particularly since if it is a portrait of her, it is posthumous, having been painted about 14 years after her death. When she died, Piero di Cosimo was only 14 years old, so it is possible that it could be a copy of a work by an earlier artist.The Musée Condé questions the identification of the subject, titling the painting Portrait of a woman, said to be of Simonetta Vespucci, and stating that the inscription of her name at the bottom of the painting may have been added at a later date.

Prompt: シモネッタ・ヴェスプッチの肖像はどのように被験者の身元を説明していますか？英語で出力して下さい。

Musée Condé
Piero di Cosimo
Simonetta Vespucci


section

シモネッタ・ヴェスプッチの肖像

It is uncertain how closely the painting resembles Simonetta Vespucci, particularly since if it is a portrait of her, it is posthumous, having been painted about 14 years after her death. When she died, Piero di Cosimo was only 14 years old, so it is possible that it could be a copy of a work by an earlier artist.The Musée Condé questions the identification of the subject, titling the painting Portrait of a woman, said to be of Simonetta Vespucci, and stating that the inscription of her name at the bottom of the painting may have been added at a later date.

Prompt: シモネッタ・ヴェスプッチの肖像に関して、どのように被験者の身元が議論されていますか？英語で出力して下さい。

Musée Condé
Piero di Cosimo
Simonetta Vespucci


section

パラスとケンタウロス

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right.</ref>}} She is clutching the hair of the centaur, who was evidently about to shoot from his bow. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more.

Prompt: パラスとケンタウロスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Arthur Frothingham
Centaur
Florence
Minerva
Renaissance
Sandro Botticelli
Uffizi
Uffizi


section

パラスとケンタウロス

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right.</ref>}} She is clutching the hair of the centaur, who was evidently about to shoot from his bow. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more.

Prompt: パラスとケンタウロスの抽象を説明してください。英語で出力して下さい。

Arthur Frothingham
Centaur
Florence
Minerva
Renaissance
Sandro Botticelli
Uffizi
Uffizi


section

パラスとケンタウロス

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right.</ref>}} She is clutching the hair of the centaur, who was evidently about to shoot from his bow. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more.

Prompt: パラスとケンタウロスはどのように抽象を説明していますか？英語で出力して下さい。

Arthur Frothingham
Centaur
Florence
Minerva
Renaissance
Sandro Botticelli
Uffizi
Uffizi


section

パラスとケンタウロス

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right.</ref>}} She is clutching the hair of the centaur, who was evidently about to shoot from his bow. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more.

Prompt: パラスとケンタウロスに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Arthur Frothingham
Centaur
Florence
Minerva
Renaissance
Sandro Botticelli
Uffizi
Uffizi


section

パラスとケンタウロス

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici .Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830,  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Prompt: パラスとケンタウロスに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Florence
Linda Proud
Lorenzo de' Medici
Lorenzo di Pierfrancesco de' Medici
Moses
Palazzo Vecchio
Sistine Chapel
Uffizi
Uffizi
Villa di Castello


section

パラスとケンタウロス

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici .Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830,  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Prompt: パラスとケンタウロスの歴史を説明してください。英語で出力して下さい。

Florence
Linda Proud
Lorenzo de' Medici
Lorenzo di Pierfrancesco de' Medici
Moses
Palazzo Vecchio
Sistine Chapel
Uffizi
Uffizi
Villa di Castello


section

パラスとケンタウロス

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici .Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830,  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Prompt: パラスとケンタウロス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。

Florence
Linda Proud
Lorenzo de' Medici
Lorenzo di Pierfrancesco de' Medici
Moses
Palazzo Vecchio
Sistine Chapel
Uffizi
Uffizi
Villa di Castello


section

パラスとケンタウロス

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici .Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830,  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Prompt: パラスとケンタウロスに関して、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。

Florence
Linda Proud
Lorenzo de' Medici
Lorenzo di Pierfrancesco de' Medici
Moses
Palazzo Vecchio
Sistine Chapel
Uffizi
Uffizi
Villa di Castello


section

パラスとケンタウロス

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. Additionally, Pallas wears either olive branches  or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious,Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:

Prompt: パラスとケンタウロスに焦点を当てて、その解釈を説明してください。英語で出力して下さい。

Elba
Ferdinand I of Naples
Furius Dionysius Filocalus
John Rigby Hale
Lorenzo de' Medici
Piombino
Pope Damasus I
Sigmund Freud
Trier


section

パラスとケンタウロス

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. Additionally, Pallas wears either olive branches  or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious,Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:

Prompt: パラスとケンタウロスの解釈を説明してください。英語で出力して下さい。

Elba
Ferdinand I of Naples
Furius Dionysius Filocalus
John Rigby Hale
Lorenzo de' Medici
Piombino
Pope Damasus I
Sigmund Freud
Trier


section

パラスとケンタウロス

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. Additionally, Pallas wears either olive branches  or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious,Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:

Prompt: パラスとケンタウロスはどのように解釈を説明していますか？英語で出力して下さい。

Elba
Ferdinand I of Naples
Furius Dionysius Filocalus
John Rigby Hale
Lorenzo de' Medici
Piombino
Pope Damasus I
Sigmund Freud
Trier


section

パラスとケンタウロス

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. Additionally, Pallas wears either olive branches  or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious,Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:

Prompt: パラスとケンタウロスに関して、どのように解釈が議論されていますか？英語で出力して下さい。

Elba
Ferdinand I of Naples
Furius Dionysius Filocalus
John Rigby Hale
Lorenzo de' Medici
Piombino
Pope Damasus I
Sigmund Freud
Trier


section

パラスとケンタウロス

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Prompt: パラスとケンタウロスに焦点を当てて、その図面を説明してください。英語で出力して下さい。


section

パラスとケンタウロス

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Prompt: パラスとケンタウロスの図面を説明してください。英語で出力して下さい。


section

パラスとケンタウロス

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Prompt: パラスとケンタウロスはどのように図面を説明していますか？英語で出力して下さい。


section

パラスとケンタウロス

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Prompt: パラスとケンタウロスに関して、どのように図面が議論されていますか？英語で出力して下さい。


section

パラスとケンタウロス

Prompt: パラスとケンタウロスに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

パラスとケンタウロス

Prompt: パラスとケンタウロスの参照を説明してください。英語で出力して下さい。


section

パラスとケンタウロス

Prompt: パラスとケンタウロスはどのように参照を説明していますか？英語で出力して下さい。


section

パラスとケンタウロス

Prompt: パラスとケンタウロスに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

パラスとケンタウロス

Ettlinger, Leopold with Helen S. Ettlinger, Botticelli, 1976, Thames and Hudson , Frothingham, A. L., "The Real Title of Botticelli's "Pallas"", American Journal of Archaeology 12/4, Oct.-Dec. 1908: 438–444. . .Hartt, Frederick, History of Italian Renaissance Art,  1987, Thames & Hudson , Legouix, Susan, Botticelli, 2004 , Chaucer Press, Lightbown, Ronald, Sandro Botticelli: Life and Work, 1989 , Thames and Hudson

Prompt: パラスとケンタウロスに焦点を当てて、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

パラスとケンタウロス

Ettlinger, Leopold with Helen S. Ettlinger, Botticelli, 1976, Thames and Hudson , Frothingham, A. L., "The Real Title of Botticelli's "Pallas"", American Journal of Archaeology 12/4, Oct.-Dec. 1908: 438–444. . .Hartt, Frederick, History of Italian Renaissance Art,  1987, Thames & Hudson , Legouix, Susan, Botticelli, 2004 , Chaucer Press, Lightbown, Ronald, Sandro Botticelli: Life and Work, 1989 , Thames and Hudson

Prompt: パラスとケンタウロス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

パラスとケンタウロス

Ettlinger, Leopold with Helen S. Ettlinger, Botticelli, 1976, Thames and Hudson , Frothingham, A. L., "The Real Title of Botticelli's "Pallas"", American Journal of Archaeology 12/4, Oct.-Dec. 1908: 438–444. . .Hartt, Frederick, History of Italian Renaissance Art,  1987, Thames & Hudson , Legouix, Susan, Botticelli, 2004 , Chaucer Press, Lightbown, Ronald, Sandro Botticelli: Life and Work, 1989 , Thames and Hudson

Prompt: パラスとケンタウロス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

パラスとケンタウロス

Ettlinger, Leopold with Helen S. Ettlinger, Botticelli, 1976, Thames and Hudson , Frothingham, A. L., "The Real Title of Botticelli's "Pallas"", American Journal of Archaeology 12/4, Oct.-Dec. 1908: 438–444. . .Hartt, Frederick, History of Italian Renaissance Art,  1987, Thames & Hudson , Legouix, Susan, Botticelli, 2004 , Chaucer Press, Lightbown, Ronald, Sandro Botticelli: Life and Work, 1989 , Thames and Hudson

Prompt: パラスとケンタウロスに関して、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。


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ルクレティアの物語 (ボッティチェッリ)

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Prompt: ルクレティアの物語 (ボッティチェッリ)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。

Boston
Isabella Stewart Gardner
Isabella Stewart Gardner Museum
Lucretia
Renaissance
Sandro Botticelli


section

ルクレティアの物語 (ボッティチェッリ)

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Prompt: ルクレティアの物語 (ボッティチェッリ)の抽象を説明してください。英語で出力して下さい。

Boston
Isabella Stewart Gardner
Isabella Stewart Gardner Museum
Lucretia
Renaissance
Sandro Botticelli


section

ルクレティアの物語 (ボッティチェッリ)

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Prompt: ルクレティアの物語 (ボッティチェッリ)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。

Boston
Isabella Stewart Gardner
Isabella Stewart Gardner Museum
Lucretia
Renaissance
Sandro Botticelli


section

ルクレティアの物語 (ボッティチェッリ)

The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. Known less formally as the Botticelli Lucretia, it is housed in the Isabella Stewart Gardner Museum of Boston, Massachusetts, having been owned by Isabella Stewart Gardner in her lifetime.

Prompt: ルクレティアの物語 (ボッティチェッリ)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。

Boston
Isabella Stewart Gardner
Isabella Stewart Gardner Museum
Lucretia
Renaissance
Sandro Botticelli


section

ルクレティアの物語 (ボッティチェッリ)

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of rs Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

Prompt: ルクレティアの物語 (ボッティチェッリ)に焦点を当てて、そのルクレティアの悲劇の絵を説明してください。英語で出力して下さい。

Collatia
David
Filippino Lippi
Goliath
Holofernes
Horatius Cocles
Isabella Stewart Gardner
Isabella Stewart Gardner Museum
Lucius Junius Brutus
Lucius Tarquinius Superbus
Lucretia
Republic of Florence
Sextus Tarquinius


section

ルクレティアの物語 (ボッティチェッリ)

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of rs Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

Prompt: ルクレティアの物語 (ボッティチェッリ)のルクレティアの悲劇の絵を説明してください。英語で出力して下さい。

Collatia
David
Filippino Lippi
Goliath
Holofernes
Horatius Cocles
Isabella Stewart Gardner
Isabella Stewart Gardner Museum
Lucius Junius Brutus
Lucius Tarquinius Superbus
Lucretia
Republic of Florence
Sextus Tarquinius


section

ルクレティアの物語 (ボッティチェッリ)

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of rs Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

Prompt: ルクレティアの物語 (ボッティチェッリ)はどのようにルクレティアの悲劇の絵を説明していますか？英語で出力して下さい。

Collatia
David
Filippino Lippi
Goliath
Holofernes
Horatius Cocles
Isabella Stewart Gardner
Isabella Stewart Gardner Museum
Lucius Junius Brutus
Lucius Tarquinius Superbus
Lucretia
Republic of Florence
Sextus Tarquinius


section

ルクレティアの物語 (ボッティチェッリ)

The picture is a syncretion of scenes from different legendary themes in different time periods that Botticelli considered related. The topic is revolt against tyranny, a popular one in the volatile Italian republics. The main scene is given center foreground. It is the beginning of the revolution that created the Roman republic. The legend is that Lucretia, a noblewoman, was raped by Sextus Tarquinius, the son of the last king of Rome. As a result, Lucius Junius Brutus took an oath to expel the Tarquinii from Rome and never to allow anyone else to reign. In the centre of the picture Lucretia's corpse is on public display as a heroine. Brutus stands over her exhorting the populace to revolt and recruiting a revolutionary army of young men. There is much sword-waving. The dagger with which Lucretia killed herself is in evidence protruding from her breast. The statue at the top of the column behind Brutus in the foreground is David and Goliath's head, which is not very suitable for vengeance, but does fit the political situation. David and Goliath were a symbol of revolt against tyranny in the Republic of Florence. Lucretia had called for vengeance, but Brutus had called for the ouster of monarchy, and the purpose of the assembly was to implement it.The legendary funeral oration takes place in the Forum Romanum, but Botticelli makes no effort to represent that well-known place. The setting is a small town, which can be seen trailing into the countryside in the background; some speculate it may have been Collatia, but that place was hardly the scene of a national revolution. None of the buildings are classical Roman and even the triumphal arch in the background commemorating the triumph of the republic is unlike any other. Hilliard T. Goldfarb, author of The Isabella Stewart Gardner Museum: A Companion Guide and History, instead suggests that it is a dramatic stage scene in which the players gesticulate theatrically, and also about Botticelli's intent to convey "a clear political message." One does not, however, hire one of the greatest artists of the time to adorn the inside of a wedding chest or the back of a chair, even in a mansion, with clear political messages; presumably, the panel was meant for public display of some sort. Botticelli ten years later was to die in obscure and unappreciated poverty; nevertheless, he was recognized even then as a great master.The scene on the right porch is the death of Lucretia. The frieze over the porch depicts Horatius Cocles, a warrior who defended Rome against the intervention of rs Porsenna and the ousted last king of Rome, Lucius Tarquinius Superbus. The scene on the left porch is the threatening of Lucretia by Sextus to extort her compliance. He rips away her cloak, threatening to plunge his sword into her. The frieze over it depicts Judith and Holofernes, a tyrant decapitated by her after offers of seduction in the Old Testament.The use of architecture in this picture is parallel to that of Filippino Lippi, a pupil of Sandro's, the son of Sandro's teacher.

Prompt: ルクレティアの物語 (ボッティチェッリ)に関して、どのようにルクレティアの悲劇の絵が議論されていますか？英語で出力して下さい。

Collatia
David
Filippino Lippi
Goliath
Holofernes
Horatius Cocles
Isabella Stewart Gardner
Isabella Stewart Gardner Museum
Lucius Junius Brutus
Lucius Tarquinius Superbus
Lucretia
Republic of Florence
Sextus Tarquinius


section

ルクレティアの物語 (ボッティチェッリ)

Prompt: ルクレティアの物語 (ボッティチェッリ)に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ルクレティアの物語 (ボッティチェッリ)

Prompt: ルクレティアの物語 (ボッティチェッリ)の参照を説明してください。英語で出力して下さい。


section

ルクレティアの物語 (ボッティチェッリ)

Prompt: ルクレティアの物語 (ボッティチェッリ)はどのように参照を説明していますか？英語で出力して下さい。


section

ルクレティアの物語 (ボッティチェッリ)

Prompt: ルクレティアの物語 (ボッティチェッリ)に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

チェステッロの受胎告知

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her  that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat'  is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in tin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Prompt: チェステッロの受胎告知に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Annunciation
Gabriel
Kelvingrove Art Gallery and Museum
Metropolitan Museum of Art
Sandro Botticelli


section

チェステッロの受胎告知

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her  that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat'  is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in tin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Prompt: チェステッロの受胎告知の抽象を説明してください。英語で出力して下さい。

Annunciation
Gabriel
Kelvingrove Art Gallery and Museum
Metropolitan Museum of Art
Sandro Botticelli


section

チェステッロの受胎告知

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her  that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat'  is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in tin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Prompt: チェステッロの受胎告知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。

Annunciation
Gabriel
Kelvingrove Art Gallery and Museum
Metropolitan Museum of Art
Sandro Botticelli


section

チェステッロの受胎告知

The Cestello Annunciation is a tempera painting on panel made in 1489 by the Italian Renaissance master Sandro Botticelli. It was painted for the patron Benedetto di Ser Giovanni Guardi to adorn the church of the Florentine monastery of Cestello, which is now known as Santa Maria Maddalena de'Pazzi.The subject of the painting is the Annunciation, in which the Archangel Gabriel visits the Virgin Mary to 'announce' to her  that she has been chosen by God to bear the Christ child should she accept this invitation. Her 'fiat'  is the Annunciation. If She had said no, there would be no Redemption for mankind. Underneath the painting on its original frame are words in tin from St. Luke's Gospel 1:35: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee."The subject of the Annunciation is common in Christian art and has been depicted by many artists, in multiple formats, and in different time periods. In addition to the Cestello Annunciation, Botticelli also painted a 1485 Annunciation now in the Metropolitan Museum of Art and a 1495-1500 version now housed in the Kelvingrove Art Gallery and Museum.

Prompt: チェステッロの受胎告知に関して、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。

Annunciation
Gabriel
Kelvingrove Art Gallery and Museum
Metropolitan Museum of Art
Sandro Botticelli


section

チェステッロの受胎告知

Prompt: チェステッロの受胎告知に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

チェステッロの受胎告知

Prompt: チェステッロの受胎告知の参照を説明してください。英語で出力して下さい。


section

チェステッロの受胎告知

Prompt: チェステッロの受胎告知はどのように参照を説明していますか？英語で出力して下さい。


section

チェステッロの受胎告知

Prompt: チェステッロの受胎告知に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

チェステッロの受胎告知

Category:1480s paintingsCategory:Paintings of the AnnunciationCategory:Paintings by Sandro Botticelli in the UffiziCategory:Paintings by Sandro BotticelliCategory:Paintings of the Virgin Mary

Prompt: チェステッロの受胎告知に焦点を当てて、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

チェステッロの受胎告知

Category:1480s paintingsCategory:Paintings of the AnnunciationCategory:Paintings by Sandro Botticelli in the UffiziCategory:Paintings by Sandro BotticelliCategory:Paintings of the Virgin Mary

Prompt: チェステッロの受胎告知の参考文献を説明してください。英語で出力して下さい。


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チェステッロの受胎告知

Category:1480s paintingsCategory:Paintings of the AnnunciationCategory:Paintings by Sandro Botticelli in the UffiziCategory:Paintings by Sandro BotticelliCategory:Paintings of the Virgin Mary

Prompt: チェステッロの受胎告知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。


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チェステッロの受胎告知

Category:1480s paintingsCategory:Paintings of the AnnunciationCategory:Paintings by Sandro Botticelli in the UffiziCategory:Paintings by Sandro BotticelliCategory:Paintings of the Virgin Mary

Prompt: チェステッロの受胎告知に関して、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。


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カニジャーニの聖家族

The Canigiani Holy Family or Canigiani Madonna is an oil-on-wood painting by the Italian High Renaissance artist Raphael, executed circa 1507–1508.It shows mainly  Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact. The oil painting was bought from the painter by the Canigiani family in Florence for their Home altar.It is part of the permanent collection of the Alte Pinakothek in Munich, Germany.Raphael’s Artistic TechniquesEarly on his life, Raphael’s drawing style was influenced by his father, Giovanni Santi, who also was a painter.  Raphael used ink as well as chalk to create his drawings.  He would use soft strokes to create lifelike images.  Raphael’s drawings covered different subject, just most were related to religion or biblical depictions.  This is the case with Canigiani Holy Family.Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion.  Raphael used the traditional printmaking technique of etching onto plates and then creating his prints on paper.  Similar to his drawings and paintings, Raphael’s paintings were also primarily about religious scenes.  Raphael was hailed as an artist who painted the most complete images.The PaintingCanigiani Holy Family is an oil painting on a wood panel.  The painting shows the Holy Family, consisting of Jesus Christ as a baby, the Virgin Mary, and Saint Joseph.  The painting focuses on the baby Jesus, with the older figures looking on.  Also present in the painting are Saint Elizabeth and a very young John the Baptist.Raphael used vivid color and lighting to show the Holy Family in the daylight, while adding perspective which brings them to the front of the image.  Depth is achieved by creating the images behind the Holy Family smaller, making them seem to be in the distance.  Daylight is achieved through the use of soft blues and whites in the sky above.  Borrowing form his history in drawing, Raphael is able to make each figure distinct from the whole.  He does this through crisp, sharp lines as well as his use of color.PatronsCanigiani Holy Family was commissioned by the Caniagini family in Florence to be placed on the altar at their home. The Caniagini family was a wealthy family involved in banking, and also had a large amount of political influence at the time. The primary patron from the family was Domenico di Bartolomeo Canigiani, who was deeply interested in the arts and supported many artists, Raphael among them. Though the painting is Italian in origin, it is currently located at the Alte Pinakothek art museum in Munich, Germany.

Prompt: カニジャーニの聖家族に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Alte Pinakothek
Florence
Giovanni Santi
High Renaissance
Home altar
John the Baptist
Munich
New Testament
Raphael
Saint Joseph


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カニジャーニの聖家族

The Canigiani Holy Family or Canigiani Madonna is an oil-on-wood painting by the Italian High Renaissance artist Raphael, executed circa 1507–1508.It shows mainly  Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact. The oil painting was bought from the painter by the Canigiani family in Florence for their Home altar.It is part of the permanent collection of the Alte Pinakothek in Munich, Germany.Raphael’s Artistic TechniquesEarly on his life, Raphael’s drawing style was influenced by his father, Giovanni Santi, who also was a painter.  Raphael used ink as well as chalk to create his drawings.  He would use soft strokes to create lifelike images.  Raphael’s drawings covered different subject, just most were related to religion or biblical depictions.  This is the case with Canigiani Holy Family.Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion.  Raphael used the traditional printmaking technique of etching onto plates and then creating his prints on paper.  Similar to his drawings and paintings, Raphael’s paintings were also primarily about religious scenes.  Raphael was hailed as an artist who painted the most complete images.The PaintingCanigiani Holy Family is an oil painting on a wood panel.  The painting shows the Holy Family, consisting of Jesus Christ as a baby, the Virgin Mary, and Saint Joseph.  The painting focuses on the baby Jesus, with the older figures looking on.  Also present in the painting are Saint Elizabeth and a very young John the Baptist.Raphael used vivid color and lighting to show the Holy Family in the daylight, while adding perspective which brings them to the front of the image.  Depth is achieved by creating the images behind the Holy Family smaller, making them seem to be in the distance.  Daylight is achieved through the use of soft blues and whites in the sky above.  Borrowing form his history in drawing, Raphael is able to make each figure distinct from the whole.  He does this through crisp, sharp lines as well as his use of color.PatronsCanigiani Holy Family was commissioned by the Caniagini family in Florence to be placed on the altar at their home. The Caniagini family was a wealthy family involved in banking, and also had a large amount of political influence at the time. The primary patron from the family was Domenico di Bartolomeo Canigiani, who was deeply interested in the arts and supported many artists, Raphael among them. Though the painting is Italian in origin, it is currently located at the Alte Pinakothek art museum in Munich, Germany.

Prompt: カニジャーニの聖家族の抽象を説明してください。英語で出力して下さい。

Alte Pinakothek
Florence
Giovanni Santi
High Renaissance
Home altar
John the Baptist
Munich
New Testament
Raphael
Saint Joseph


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カニジャーニの聖家族

The Canigiani Holy Family or Canigiani Madonna is an oil-on-wood painting by the Italian High Renaissance artist Raphael, executed circa 1507–1508.It shows mainly  Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact. The oil painting was bought from the painter by the Canigiani family in Florence for their Home altar.It is part of the permanent collection of the Alte Pinakothek in Munich, Germany.Raphael’s Artistic TechniquesEarly on his life, Raphael’s drawing style was influenced by his father, Giovanni Santi, who also was a painter.  Raphael used ink as well as chalk to create his drawings.  He would use soft strokes to create lifelike images.  Raphael’s drawings covered different subject, just most were related to religion or biblical depictions.  This is the case with Canigiani Holy Family.Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion.  Raphael used the traditional printmaking technique of etching onto plates and then creating his prints on paper.  Similar to his drawings and paintings, Raphael’s paintings were also primarily about religious scenes.  Raphael was hailed as an artist who painted the most complete images.The PaintingCanigiani Holy Family is an oil painting on a wood panel.  The painting shows the Holy Family, consisting of Jesus Christ as a baby, the Virgin Mary, and Saint Joseph.  The painting focuses on the baby Jesus, with the older figures looking on.  Also present in the painting are Saint Elizabeth and a very young John the Baptist.Raphael used vivid color and lighting to show the Holy Family in the daylight, while adding perspective which brings them to the front of the image.  Depth is achieved by creating the images behind the Holy Family smaller, making them seem to be in the distance.  Daylight is achieved through the use of soft blues and whites in the sky above.  Borrowing form his history in drawing, Raphael is able to make each figure distinct from the whole.  He does this through crisp, sharp lines as well as his use of color.PatronsCanigiani Holy Family was commissioned by the Caniagini family in Florence to be placed on the altar at their home. The Caniagini family was a wealthy family involved in banking, and also had a large amount of political influence at the time. The primary patron from the family was Domenico di Bartolomeo Canigiani, who was deeply interested in the arts and supported many artists, Raphael among them. Though the painting is Italian in origin, it is currently located at the Alte Pinakothek art museum in Munich, Germany.

Prompt: カニジャーニの聖家族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。

Alte Pinakothek
Florence
Giovanni Santi
High Renaissance
Home altar
John the Baptist
Munich
New Testament
Raphael
Saint Joseph


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カニジャーニの聖家族

The Canigiani Holy Family or Canigiani Madonna is an oil-on-wood painting by the Italian High Renaissance artist Raphael, executed circa 1507–1508.It shows mainly  Elisabeth with baby John the Baptist, Joseph and Mary with infant baby Jesus. These figures of the New Testament maintain eye contact. The oil painting was bought from the painter by the Canigiani family in Florence for their Home altar.It is part of the permanent collection of the Alte Pinakothek in Munich, Germany.Raphael’s Artistic TechniquesEarly on his life, Raphael’s drawing style was influenced by his father, Giovanni Santi, who also was a painter.  Raphael used ink as well as chalk to create his drawings.  He would use soft strokes to create lifelike images.  Raphael’s drawings covered different subject, just most were related to religion or biblical depictions.  This is the case with Canigiani Holy Family.Just as with his drawings, Raphael’s prints also covered many subjects, but were primarily about religion.  Raphael used the traditional printmaking technique of etching onto plates and then creating his prints on paper.  Similar to his drawings and paintings, Raphael’s paintings were also primarily about religious scenes.  Raphael was hailed as an artist who painted the most complete images.The PaintingCanigiani Holy Family is an oil painting on a wood panel.  The painting shows the Holy Family, consisting of Jesus Christ as a baby, the Virgin Mary, and Saint Joseph.  The painting focuses on the baby Jesus, with the older figures looking on.  Also present in the painting are Saint Elizabeth and a very young John the Baptist.Raphael used vivid color and lighting to show the Holy Family in the daylight, while adding perspective which brings them to the front of the image.  Depth is achieved by creating the images behind the Holy Family smaller, making them seem to be in the distance.  Daylight is achieved through the use of soft blues and whites in the sky above.  Borrowing form his history in drawing, Raphael is able to make each figure distinct from the whole.  He does this through crisp, sharp lines as well as his use of color.PatronsCanigiani Holy Family was commissioned by the Caniagini family in Florence to be placed on the altar at their home. The Caniagini family was a wealthy family involved in banking, and also had a large amount of political influence at the time. The primary patron from the family was Domenico di Bartolomeo Canigiani, who was deeply interested in the arts and supported many artists, Raphael among them. Though the painting is Italian in origin, it is currently located at the Alte Pinakothek art museum in Munich, Germany.

Prompt: カニジャーニの聖家族に関して、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。

Alte Pinakothek
Florence
Giovanni Santi
High Renaissance
Home altar
John the Baptist
Munich
New Testament
Raphael
Saint Joseph


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カニジャーニの聖家族

Prompt: カニジャーニの聖家族に焦点を当てて、その参照を説明してください。英語で出力して下さい。


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カニジャーニの聖家族

Prompt: カニジャーニの聖家族の参照を説明してください。英語で出力して下さい。


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カニジャーニの聖家族

Prompt: カニジャーニの聖家族はどのように参照を説明していますか？英語で出力して下さい。


section

カニジャーニの聖家族

Prompt: カニジャーニの聖家族に関して、どのように参照が議論されていますか？英語で出力して下さい。


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カニジャーニの聖家族

Category:Paintings by RaphaelCategory:Collection of the Alte PinakothekCategory:1508 paintingsCategory:Paintings of John the BaptistRaphaelCategory:Nude artCategory:Altarpieces

Prompt: カニジャーニの聖家族に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。

Alte Pinakothek
John the Baptist
Raphael


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カニジャーニの聖家族

Category:Paintings by RaphaelCategory:Collection of the Alte PinakothekCategory:1508 paintingsCategory:Paintings of John the BaptistRaphaelCategory:Nude artCategory:Altarpieces

Prompt: カニジャーニの聖家族の外部リンクを説明してください。英語で出力して下さい。

Alte Pinakothek
John the Baptist
Raphael


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カニジャーニの聖家族

Category:Paintings by RaphaelCategory:Collection of the Alte PinakothekCategory:1508 paintingsCategory:Paintings of John the BaptistRaphaelCategory:Nude artCategory:Altarpieces

Prompt: カニジャーニの聖家族はどのように外部リンクを説明していますか？英語で出力して下さい。

Alte Pinakothek
John the Baptist
Raphael


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カニジャーニの聖家族

Category:Paintings by RaphaelCategory:Collection of the Alte PinakothekCategory:1508 paintingsCategory:Paintings of John the BaptistRaphaelCategory:Nude artCategory:Altarpieces

Prompt: カニジャーニの聖家族に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。

Alte Pinakothek
John the Baptist
Raphael


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マッダレーナ・ドーニの肖像

The Portrait of Maddalena Doni is an oil painting by Italian Renaissance master Raphael, made c. 1506. It is housed in the Uffizi in Florence.

Prompt: マッダレーナ・ドーニの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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マッダレーナ・ドーニの肖像

The Portrait of Maddalena Doni is an oil painting by Italian Renaissance master Raphael, made c. 1506. It is housed in the Uffizi in Florence.

Prompt: マッダレーナ・ドーニの肖像の抽象を説明してください。英語で出力して下さい。


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マッダレーナ・ドーニの肖像

The Portrait of Maddalena Doni is an oil painting by Italian Renaissance master Raphael, made c. 1506. It is housed in the Uffizi in Florence.

Prompt: マッダレーナ・ドーニの肖像はどのように抽象を説明していますか？英語で出力して下さい。


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マッダレーナ・ドーニの肖像

The Portrait of Maddalena Doni is an oil painting by Italian Renaissance master Raphael, made c. 1506. It is housed in the Uffizi in Florence.

Prompt: マッダレーナ・ドーニの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。


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マッダレーナ・ドーニの肖像

The portrait is one of a pair that depict a recently married merchant and his wife.Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels  is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity.

Prompt: マッダレーナ・ドーニの肖像に焦点を当てて、その物語を説明してください。英語で出力して下さい。


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マッダレーナ・ドーニの肖像

The portrait is one of a pair that depict a recently married merchant and his wife.Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels  is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity.

Prompt: マッダレーナ・ドーニの肖像の物語を説明してください。英語で出力して下さい。


section

マッダレーナ・ドーニの肖像

The portrait is one of a pair that depict a recently married merchant and his wife.Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels  is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity.

Prompt: マッダレーナ・ドーニの肖像はどのように物語を説明していますか？英語で出力して下さい。


section

マッダレーナ・ドーニの肖像

The portrait is one of a pair that depict a recently married merchant and his wife.Agnolo Doni married Maddalena Strozzi in 1503, but Raphael's portraits were probably executed in 1506, the period in which the painter studied the art of Leonardo da Vinci most closely. The composition of the portraits resembles that of the Mona Lisa: the figures are presented in the same way in respect to the picture plane, and their hands, like those of the Mona Lisa, are placed on top of one another. But the low horizon of the landscape background permits a careful assessment of the human figure by providing a uniform light which defines surfaces and volumes. This relationship between landscape and figure presents a clear contrast to the striking settings of Leonardo, which communicate the threatening presence of nature.But the most notable characteristic that distinguishes these portraits from those of Leonardo is the overall sense of serenity which even the close attention to the materials of clothes and jewels  is unable to attenuate. Every element - even those of secondary importance - works together to create a precise balance.These works, linked not only by the kinship of the subjects, but also by their evident stylistic homogeneity, mark the beginning of Raphael's artistic maturity.

Prompt: マッダレーナ・ドーニの肖像に関して、どのように物語が議論されていますか？英語で出力して下さい。


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マッダレーナ・ドーニの肖像

List of paintings by RaphaelPortrait of Agnolo Doni

Prompt: マッダレーナ・ドーニの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of paintings by Raphael
Portrait of Agnolo Doni
Raphael


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マッダレーナ・ドーニの肖像

List of paintings by RaphaelPortrait of Agnolo Doni

Prompt: マッダレーナ・ドーニの肖像の参照を説明してください。英語で出力して下さい。

List of paintings by Raphael
Portrait of Agnolo Doni
Raphael


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マッダレーナ・ドーニの肖像

List of paintings by RaphaelPortrait of Agnolo Doni

Prompt: マッダレーナ・ドーニの肖像はどのように参照を説明していますか？英語で出力して下さい。

List of paintings by Raphael
Portrait of Agnolo Doni
Raphael


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マッダレーナ・ドーニの肖像

List of paintings by RaphaelPortrait of Agnolo Doni

Prompt: マッダレーナ・ドーニの肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。

List of paintings by Raphael
Portrait of Agnolo Doni
Raphael


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マッダレーナ・ドーニの肖像

MaddalenaCategory:1506 paintingsCategory:Paintings in the Galleria PalatinaMaddalenaCategory:Portraits of women

Prompt: マッダレーナ・ドーニの肖像に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


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マッダレーナ・ドーニの肖像

MaddalenaCategory:1506 paintingsCategory:Paintings in the Galleria PalatinaMaddalenaCategory:Portraits of women

Prompt: マッダレーナ・ドーニの肖像の外部リンクを説明してください。英語で出力して下さい。


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マッダレーナ・ドーニの肖像

MaddalenaCategory:1506 paintingsCategory:Paintings in the Galleria PalatinaMaddalenaCategory:Portraits of women

Prompt: マッダレーナ・ドーニの肖像はどのように外部リンクを説明していますか？英語で出力して下さい。


section

マッダレーナ・ドーニの肖像

MaddalenaCategory:1506 paintingsCategory:Paintings in the Galleria PalatinaMaddalenaCategory:Portraits of women

Prompt: マッダレーナ・ドーニの肖像に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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トカゲに噛まれた少年

Boy Bitten by a Lizard  is a painting by the Italian Baroque painter Caravaggio. It exists in two versions, both believed to be authentic works of Caravaggio, one in the Fondazione Roberto Longhi in Florence, the other in the National Gallery, London.

Prompt: トカゲに噛まれた少年に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Baroque
Caravaggio
Florence
Fondazione Roberto Longhi
London
National Gallery
Roberto Longhi


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トカゲに噛まれた少年

Boy Bitten by a Lizard  is a painting by the Italian Baroque painter Caravaggio. It exists in two versions, both believed to be authentic works of Caravaggio, one in the Fondazione Roberto Longhi in Florence, the other in the National Gallery, London.

Prompt: トカゲに噛まれた少年の抽象を説明してください。英語で出力して下さい。

Baroque
Caravaggio
Florence
Fondazione Roberto Longhi
London
National Gallery
Roberto Longhi


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トカゲに噛まれた少年

Boy Bitten by a Lizard  is a painting by the Italian Baroque painter Caravaggio. It exists in two versions, both believed to be authentic works of Caravaggio, one in the Fondazione Roberto Longhi in Florence, the other in the National Gallery, London.

Prompt: トカゲに噛まれた少年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。

Baroque
Caravaggio
Florence
Fondazione Roberto Longhi
London
National Gallery
Roberto Longhi


section

トカゲに噛まれた少年

Boy Bitten by a Lizard  is a painting by the Italian Baroque painter Caravaggio. It exists in two versions, both believed to be authentic works of Caravaggio, one in the Fondazione Roberto Longhi in Florence, the other in the National Gallery, London.

Prompt: トカゲに噛まれた少年に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Baroque
Caravaggio
Florence
Fondazione Roberto Longhi
London
National Gallery
Roberto Longhi


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トカゲに噛まれた少年

Both versions are thought to date from the period 1594–1596. According to art historian Roberto Longhi, the latter end of this period seems more likely, given that the paintings have all the signs of the early works painted in the household of Caravaggio's sophisticated patron Cardinal Francesco Del Monte, and that Caravaggio did not enter the Cardinal's Palazzo Madama until some time in 1595.

Prompt: トカゲに噛まれた少年に焦点を当てて、その日付を説明してください。英語で出力して下さい。


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トカゲに噛まれた少年

Both versions are thought to date from the period 1594–1596. According to art historian Roberto Longhi, the latter end of this period seems more likely, given that the paintings have all the signs of the early works painted in the household of Caravaggio's sophisticated patron Cardinal Francesco Del Monte, and that Caravaggio did not enter the Cardinal's Palazzo Madama until some time in 1595.

Prompt: トカゲに噛まれた少年の日付を説明してください。英語で出力して下さい。


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トカゲに噛まれた少年

Both versions are thought to date from the period 1594–1596. According to art historian Roberto Longhi, the latter end of this period seems more likely, given that the paintings have all the signs of the early works painted in the household of Caravaggio's sophisticated patron Cardinal Francesco Del Monte, and that Caravaggio did not enter the Cardinal's Palazzo Madama until some time in 1595.

Prompt: トカゲに噛まれた少年はどのように日付を説明していますか？英語で出力して下さい。


section

トカゲに噛まれた少年

Both versions are thought to date from the period 1594–1596. According to art historian Roberto Longhi, the latter end of this period seems more likely, given that the paintings have all the signs of the early works painted in the household of Caravaggio's sophisticated patron Cardinal Francesco Del Monte, and that Caravaggio did not enter the Cardinal's Palazzo Madama until some time in 1595.

Prompt: トカゲに噛まれた少年に関して、どのように日付が議論されていますか？英語で出力して下さい。


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トカゲに噛まれた少年

As with all of Caravaggio's early output, much remains conjectural, and the identity of the model has been debated. One theory is that the model was Mario Minniti, Caravaggio's companion and the model for several other paintings from the period; the bouffant, curly dark hair, and pursed lips look similar, but in other pictures such as Boy with a Basket of Fruit and The Fortune Teller Mario looks less effeminate.Michael Fried has proposed instead that the painting is a disguised self-portrait of Caravaggio. Fried argues that the subject's hands – one stretched out, the other raised up – are in a similar position to those of a painter holding a palette while painting.

Prompt: トカゲに噛まれた少年に焦点を当てて、そのモデルの識別を説明してください。英語で出力して下さい。

Boy with a Basket of Fruit
Caravaggio
Mario Minniti
Michael Fried


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トカゲに噛まれた少年

As with all of Caravaggio's early output, much remains conjectural, and the identity of the model has been debated. One theory is that the model was Mario Minniti, Caravaggio's companion and the model for several other paintings from the period; the bouffant, curly dark hair, and pursed lips look similar, but in other pictures such as Boy with a Basket of Fruit and The Fortune Teller Mario looks less effeminate.Michael Fried has proposed instead that the painting is a disguised self-portrait of Caravaggio. Fried argues that the subject's hands – one stretched out, the other raised up – are in a similar position to those of a painter holding a palette while painting.

Prompt: トカゲに噛まれた少年のモデルの識別を説明してください。英語で出力して下さい。

Boy with a Basket of Fruit
Caravaggio
Mario Minniti
Michael Fried


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トカゲに噛まれた少年

As with all of Caravaggio's early output, much remains conjectural, and the identity of the model has been debated. One theory is that the model was Mario Minniti, Caravaggio's companion and the model for several other paintings from the period; the bouffant, curly dark hair, and pursed lips look similar, but in other pictures such as Boy with a Basket of Fruit and The Fortune Teller Mario looks less effeminate.Michael Fried has proposed instead that the painting is a disguised self-portrait of Caravaggio. Fried argues that the subject's hands – one stretched out, the other raised up – are in a similar position to those of a painter holding a palette while painting.

Prompt: トカゲに噛まれた少年はどのようにモデルの識別を説明していますか？英語で出力して下さい。

Boy with a Basket of Fruit
Caravaggio
Mario Minniti
Michael Fried


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トカゲに噛まれた少年

As with all of Caravaggio's early output, much remains conjectural, and the identity of the model has been debated. One theory is that the model was Mario Minniti, Caravaggio's companion and the model for several other paintings from the period; the bouffant, curly dark hair, and pursed lips look similar, but in other pictures such as Boy with a Basket of Fruit and The Fortune Teller Mario looks less effeminate.Michael Fried has proposed instead that the painting is a disguised self-portrait of Caravaggio. Fried argues that the subject's hands – one stretched out, the other raised up – are in a similar position to those of a painter holding a palette while painting.

Prompt: トカゲに噛まれた少年に関して、どのようにモデルの識別が議論されていますか？英語で出力して下さい。

Boy with a Basket of Fruit
Caravaggio
Mario Minniti
Michael Fried


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トカゲに噛まれた少年

According to Leonard J. Slatkes, the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time. The salamander also had phallic connotations, and the painting might have been inspired by a Martial epigram: "Ad te reptanti, puer insidiose, lacertae Parce: cupit digitis illa perire tuis.

Prompt: トカゲに噛まれた少年に焦点を当てて、その象徴性を説明してください。英語で出力して下さい。


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トカゲに噛まれた少年

According to Leonard J. Slatkes, the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time. The salamander also had phallic connotations, and the painting might have been inspired by a Martial epigram: "Ad te reptanti, puer insidiose, lacertae Parce: cupit digitis illa perire tuis.

Prompt: トカゲに噛まれた少年の象徴性を説明してください。英語で出力して下さい。


section

トカゲに噛まれた少年

According to Leonard J. Slatkes, the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time. The salamander also had phallic connotations, and the painting might have been inspired by a Martial epigram: "Ad te reptanti, puer insidiose, lacertae Parce: cupit digitis illa perire tuis.

Prompt: トカゲに噛まれた少年はどのように象徴性を説明していますか？英語で出力して下さい。


section

トカゲに噛まれた少年

According to Leonard J. Slatkes, the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time. The salamander also had phallic connotations, and the painting might have been inspired by a Martial epigram: "Ad te reptanti, puer insidiose, lacertae Parce: cupit digitis illa perire tuis.

Prompt: トカゲに噛まれた少年に関して、どのように象徴性が議論されていますか？英語で出力して下さい。


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トカゲに噛まれた少年

The affected pose may have been the inevitable result of the experiment Caravaggio appears to have been undertaking here: observing and recording acute emotions – surprise and fear – in a situation where real surprise was impossible and where the pose had to be held for a considerable period. Critics of Caravaggio's insistence on painting only from life would later point out this limitation of his method: it lent itself to marvelously realistic  static compositions, but not to scenes involving movement and violence. It would only be in his late period, when he seems to have worked more from imagination, that Caravaggio would be able to completely overcome this problem. Nevertheless, Boy Bitten by a Lizard is an important work in the artist's early oeuvre precisely because it shows a way out from the airless stillness of very early works such as Boy Peeling a Fruit and Sick Bacchus, and even the implied violence but actual stasis of pieces such as Cardsharps.

Prompt: トカゲに噛まれた少年に焦点を当てて、そのスタイルを説明してください。英語で出力して下さい。


section

トカゲに噛まれた少年

The affected pose may have been the inevitable result of the experiment Caravaggio appears to have been undertaking here: observing and recording acute emotions – surprise and fear – in a situation where real surprise was impossible and where the pose had to be held for a considerable period. Critics of Caravaggio's insistence on painting only from life would later point out this limitation of his method: it lent itself to marvelously realistic  static compositions, but not to scenes involving movement and violence. It would only be in his late period, when he seems to have worked more from imagination, that Caravaggio would be able to completely overcome this problem. Nevertheless, Boy Bitten by a Lizard is an important work in the artist's early oeuvre precisely because it shows a way out from the airless stillness of very early works such as Boy Peeling a Fruit and Sick Bacchus, and even the implied violence but actual stasis of pieces such as Cardsharps.

Prompt: トカゲに噛まれた少年のスタイルを説明してください。英語で出力して下さい。


section

トカゲに噛まれた少年

The affected pose may have been the inevitable result of the experiment Caravaggio appears to have been undertaking here: observing and recording acute emotions – surprise and fear – in a situation where real surprise was impossible and where the pose had to be held for a considerable period. Critics of Caravaggio's insistence on painting only from life would later point out this limitation of his method: it lent itself to marvelously realistic  static compositions, but not to scenes involving movement and violence. It would only be in his late period, when he seems to have worked more from imagination, that Caravaggio would be able to completely overcome this problem. Nevertheless, Boy Bitten by a Lizard is an important work in the artist's early oeuvre precisely because it shows a way out from the airless stillness of very early works such as Boy Peeling a Fruit and Sick Bacchus, and even the implied violence but actual stasis of pieces such as Cardsharps.

Prompt: トカゲに噛まれた少年はどのようにスタイルを説明していますか？英語で出力して下さい。


section

トカゲに噛まれた少年

The affected pose may have been the inevitable result of the experiment Caravaggio appears to have been undertaking here: observing and recording acute emotions – surprise and fear – in a situation where real surprise was impossible and where the pose had to be held for a considerable period. Critics of Caravaggio's insistence on painting only from life would later point out this limitation of his method: it lent itself to marvelously realistic  static compositions, but not to scenes involving movement and violence. It would only be in his late period, when he seems to have worked more from imagination, that Caravaggio would be able to completely overcome this problem. Nevertheless, Boy Bitten by a Lizard is an important work in the artist's early oeuvre precisely because it shows a way out from the airless stillness of very early works such as Boy Peeling a Fruit and Sick Bacchus, and even the implied violence but actual stasis of pieces such as Cardsharps.

Prompt: トカゲに噛まれた少年に関して、どのようにスタイルが議論されていますか？英語で出力して下さい。


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トカゲに噛まれた少年

Prompt: トカゲに噛まれた少年に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


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トカゲに噛まれた少年

Prompt: トカゲに噛まれた少年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

トカゲに噛まれた少年

Prompt: トカゲに噛まれた少年はどのように参照を説明していますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

トカゲに噛まれた少年

Prompt: トカゲに噛まれた少年に関して、どのように参照が議論されていますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


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トカゲに噛まれた少年

As was first suggested by Roberto Longhi, Caravaggio has probably borrowed the motif of biting a finger from a Boy Bitten by a Crab, a drawing by prominent Renaissance artist Sofonisba Anguissola.

Prompt: トカゲに噛まれた少年に焦点を当てて、その情報源を説明してください。英語で出力して下さい。

Caravaggio
Roberto Longhi
Sofonisba Anguissola


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トカゲに噛まれた少年

As was first suggested by Roberto Longhi, Caravaggio has probably borrowed the motif of biting a finger from a Boy Bitten by a Crab, a drawing by prominent Renaissance artist Sofonisba Anguissola.

Prompt: トカゲに噛まれた少年の情報源を説明してください。英語で出力して下さい。

Caravaggio
Roberto Longhi
Sofonisba Anguissola


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トカゲに噛まれた少年

As was first suggested by Roberto Longhi, Caravaggio has probably borrowed the motif of biting a finger from a Boy Bitten by a Crab, a drawing by prominent Renaissance artist Sofonisba Anguissola.

Prompt: トカゲに噛まれた少年はどのように情報源を説明していますか？英語で出力して下さい。

Caravaggio
Roberto Longhi
Sofonisba Anguissola


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トカゲに噛まれた少年

As was first suggested by Roberto Longhi, Caravaggio has probably borrowed the motif of biting a finger from a Boy Bitten by a Crab, a drawing by prominent Renaissance artist Sofonisba Anguissola.

Prompt: トカゲに噛まれた少年に関して、どのように情報源が議論されていますか？英語で出力して下さい。

Caravaggio
Roberto Longhi
Sofonisba Anguissola


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トカゲに噛まれた少年

Jürgen Müller: "Cazzon da mulo" - Sprach- und Bildwitz in Caravaggios Junge von einer Eidechse gebissen, in: Jörg Robert : Intermedialität in der Frühen Neuzeit. Formen, Funktionen, Konzepte, Berlin/Boston 2017, pp. [180]-214.

Prompt: トカゲに噛まれた少年に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


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トカゲに噛まれた少年

Jürgen Müller: "Cazzon da mulo" - Sprach- und Bildwitz in Caravaggios Junge von einer Eidechse gebissen, in: Jörg Robert : Intermedialität in der Frühen Neuzeit. Formen, Funktionen, Konzepte, Berlin/Boston 2017, pp. [180]-214.

Prompt: トカゲに噛まれた少年のさらなる読書を説明してください。英語で出力して下さい。


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トカゲに噛まれた少年

Jürgen Müller: "Cazzon da mulo" - Sprach- und Bildwitz in Caravaggios Junge von einer Eidechse gebissen, in: Jörg Robert : Intermedialität in der Frühen Neuzeit. Formen, Funktionen, Konzepte, Berlin/Boston 2017, pp. [180]-214.

Prompt: トカゲに噛まれた少年はどのようにさらなる読書を説明していますか？英語で出力して下さい。


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トカゲに噛まれた少年

Jürgen Müller: "Cazzon da mulo" - Sprach- und Bildwitz in Caravaggios Junge von einer Eidechse gebissen, in: Jörg Robert : Intermedialität in der Frühen Neuzeit. Formen, Funktionen, Konzepte, Berlin/Boston 2017, pp. [180]-214.

Prompt: トカゲに噛まれた少年に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


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アレクサンドロス石棺

The Alexander Sarcophagus is a late 4th century BC Hellenistic stone sarcophagus from the Royal necropolis of Ayaa near Sidon, Lebanon. It is adorned with high relief carvings of Alexander the Great and scrolling historical and mythological narratives. The work is considered to be remarkably well preserved, and has been used as an exemplar for its retention of polychromy. It is currently in the holdings of the Istanbul Archaeology Museum.

Prompt: アレクサンドロス石棺に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Alexander the Great
Istanbul
Lebanon
Royal necropolis of Ayaa
Sarcophagus
Sidon


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アレクサンドロス石棺

The Alexander Sarcophagus is a late 4th century BC Hellenistic stone sarcophagus from the Royal necropolis of Ayaa near Sidon, Lebanon. It is adorned with high relief carvings of Alexander the Great and scrolling historical and mythological narratives. The work is considered to be remarkably well preserved, and has been used as an exemplar for its retention of polychromy. It is currently in the holdings of the Istanbul Archaeology Museum.

Prompt: アレクサンドロス石棺の抽象を説明してください。英語で出力して下さい。

Alexander the Great
Istanbul
Lebanon
Royal necropolis of Ayaa
Sarcophagus
Sidon


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アレクサンドロス石棺

The Alexander Sarcophagus is a late 4th century BC Hellenistic stone sarcophagus from the Royal necropolis of Ayaa near Sidon, Lebanon. It is adorned with high relief carvings of Alexander the Great and scrolling historical and mythological narratives. The work is considered to be remarkably well preserved, and has been used as an exemplar for its retention of polychromy. It is currently in the holdings of the Istanbul Archaeology Museum.

Prompt: アレクサンドロス石棺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。

Alexander the Great
Istanbul
Lebanon
Royal necropolis of Ayaa
Sarcophagus
Sidon


section

アレクサンドロス石棺

The Alexander Sarcophagus is a late 4th century BC Hellenistic stone sarcophagus from the Royal necropolis of Ayaa near Sidon, Lebanon. It is adorned with high relief carvings of Alexander the Great and scrolling historical and mythological narratives. The work is considered to be remarkably well preserved, and has been used as an exemplar for its retention of polychromy. It is currently in the holdings of the Istanbul Archaeology Museum.

Prompt: アレクサンドロス石棺に関して、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。

Alexander the Great
Istanbul
Lebanon
Royal necropolis of Ayaa
Sarcophagus
Sidon


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アレクサンドロス石棺

According to many scholars, both the provenance and date of the Alexander Sarcophagus remain uncontested, landing it firmly in the city of Sidon and having been most likely commissioned after 332 BC. and is said to have died in roughly 311 BC . due to its still-classical manner being purportedly uninfluenced by the style of Lysippos. Schefold argues that the sarcophagus retains a more conservative approach to its composition and iconography, contrasting against the stylistic progression marked by the work of Lysippos. He also asserts that his tomb would have been prepared before his death, although the vague timeline of Abdalonymus's life leaves this open-ended.

Prompt: アレクサンドロス石棺に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

アレクサンドロス石棺

According to many scholars, both the provenance and date of the Alexander Sarcophagus remain uncontested, landing it firmly in the city of Sidon and having been most likely commissioned after 332 BC. and is said to have died in roughly 311 BC . due to its still-classical manner being purportedly uninfluenced by the style of Lysippos. Schefold argues that the sarcophagus retains a more conservative approach to its composition and iconography, contrasting against the stylistic progression marked by the work of Lysippos. He also asserts that his tomb would have been prepared before his death, although the vague timeline of Abdalonymus's life leaves this open-ended.

Prompt: アレクサンドロス石棺の歴史を説明してください。英語で出力して下さい。


section

アレクサンドロス石棺

According to many scholars, both the provenance and date of the Alexander Sarcophagus remain uncontested, landing it firmly in the city of Sidon and having been most likely commissioned after 332 BC. and is said to have died in roughly 311 BC . due to its still-classical manner being purportedly uninfluenced by the style of Lysippos. Schefold argues that the sarcophagus retains a more conservative approach to its composition and iconography, contrasting against the stylistic progression marked by the work of Lysippos. He also asserts that his tomb would have been prepared before his death, although the vague timeline of Abdalonymus's life leaves this open-ended.

Prompt: アレクサンドロス石棺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

アレクサンドロス石棺

According to many scholars, both the provenance and date of the Alexander Sarcophagus remain uncontested, landing it firmly in the city of Sidon and having been most likely commissioned after 332 BC. and is said to have died in roughly 311 BC . due to its still-classical manner being purportedly uninfluenced by the style of Lysippos. Schefold argues that the sarcophagus retains a more conservative approach to its composition and iconography, contrasting against the stylistic progression marked by the work of Lysippos. He also asserts that his tomb would have been prepared before his death, although the vague timeline of Abdalonymus's life leaves this open-ended.

Prompt: アレクサンドロス石棺に関して、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。