section

氷の海

Grave, Johannes.  [2012]. Caspar David Friedrich . London/New York: Prestel. ISBN 978-3-7913-8357-6.

Prompt: 氷の海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

氷の海

Grave, Johannes.  [2012]. Caspar David Friedrich . London/New York: Prestel. ISBN 978-3-7913-8357-6.

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


subsection

氷の海

The Romantic movement emerged at the end of the eighteenth century. Romanticism was both an artistic movement and an approach to life. It rejected the Enlightenment ideas of rationalism and intellect in favor of religion, emotion, and culture. A major theme in Romanticism is the focus on nature as the subject.In the 19th century many Germans were interested in the Arctic including Friedrich. In German Romanticism the North was seen as a positive thing while the classic south was a negative thing.

Prompt: 氷の海の文脈で、ロマン主義と背景、フリードリヒを説明してください。英語で出力して下さい。


subsection

氷の海

The Romantic movement emerged at the end of the eighteenth century. Romanticism was both an artistic movement and an approach to life. It rejected the Enlightenment ideas of rationalism and intellect in favor of religion, emotion, and culture. A major theme in Romanticism is the focus on nature as the subject.In the 19th century many Germans were interested in the Arctic including Friedrich. In German Romanticism the North was seen as a positive thing while the classic south was a negative thing.

Prompt: 氷の海の背景、フリードリヒに関するロマン主義を説明してください。英語で出力して下さい。


subsection

氷の海

The Romantic movement emerged at the end of the eighteenth century. Romanticism was both an artistic movement and an approach to life. It rejected the Enlightenment ideas of rationalism and intellect in favor of religion, emotion, and culture. A major theme in Romanticism is the focus on nature as the subject.In the 19th century many Germans were interested in the Arctic including Friedrich. In German Romanticism the North was seen as a positive thing while the classic south was a negative thing.

Prompt: 氷の海では、どのように背景、フリードリヒのロマン主義が説明されていますか？英語で出力して下さい。


subsection

氷の海

The Romantic movement emerged at the end of the eighteenth century. Romanticism was both an artistic movement and an approach to life. It rejected the Enlightenment ideas of rationalism and intellect in favor of religion, emotion, and culture. A major theme in Romanticism is the focus on nature as the subject.In the 19th century many Germans were interested in the Arctic including Friedrich. In German Romanticism the North was seen as a positive thing while the classic south was a negative thing.

Prompt: 氷の海の背景、フリードリヒにおけるロマン主義の特徴を説明してください。英語で出力して下さい。


subsection

氷の海

Like many other painters in the 19th century, Friedrich decided to focus on landscapes as the main subjects of his paintings. Friedrich's style is considered to fit under the category of Romanticism because of his paintings of nature. His goal was to create on the canvas the images in his mind.

Prompt: 氷の海の文脈で、フリードリヒ、ロマン主義と背景、フリードリヒを説明してください。英語で出力して下さい。


subsection

氷の海

Like many other painters in the 19th century, Friedrich decided to focus on landscapes as the main subjects of his paintings. Friedrich's style is considered to fit under the category of Romanticism because of his paintings of nature. His goal was to create on the canvas the images in his mind.

Prompt: 氷の海の背景、フリードリヒに関するフリードリヒ、ロマン主義を説明してください。英語で出力して下さい。


subsection

氷の海

Like many other painters in the 19th century, Friedrich decided to focus on landscapes as the main subjects of his paintings. Friedrich's style is considered to fit under the category of Romanticism because of his paintings of nature. His goal was to create on the canvas the images in his mind.

Prompt: 氷の海では、どのように背景、フリードリヒのフリードリヒ、ロマン主義が説明されていますか？英語で出力して下さい。


subsection

氷の海

Like many other painters in the 19th century, Friedrich decided to focus on landscapes as the main subjects of his paintings. Friedrich's style is considered to fit under the category of Romanticism because of his paintings of nature. His goal was to create on the canvas the images in his mind.

Prompt: 氷の海の背景、フリードリヒにおけるフリードリヒ、ロマン主義の特徴を説明してください。英語で出力して下さい。


section

マッレ・バッベ

material           = Oil on canvas subject            =  height_metric      = 75 width_metric       = 64 height_imperial    =  width_imperial     =  metric_unit        = cm imperial_unit      = in condition          =  city               = Berlin museum             = Gemäldegalerie accession          =  coordinates        =  owner              =  url                = }}Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure. The painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle  Babbe, who may have been an alcoholic or suffered from a mental illness.

Prompt: マッレ・バッベに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

マッレ・バッベ

material           = Oil on canvas subject            =  height_metric      = 75 width_metric       = 64 height_imperial    =  width_imperial     =  metric_unit        = cm imperial_unit      = in condition          =  city               = Berlin museum             = Gemäldegalerie accession          =  coordinates        =  owner              =  url                = }}Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure. The painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle  Babbe, who may have been an alcoholic or suffered from a mental illness.

Prompt: マッレ・バッベの抽象を説明してください。英語で出力して下さい。


section

マッレ・バッベ

material           = Oil on canvas subject            =  height_metric      = 75 width_metric       = 64 height_imperial    =  width_imperial     =  metric_unit        = cm imperial_unit      = in condition          =  city               = Berlin museum             = Gemäldegalerie accession          =  coordinates        =  owner              =  url                = }}Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure. The painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle  Babbe, who may have been an alcoholic or suffered from a mental illness.

Prompt: マッレ・バッベはどのように抽象を説明していますか？英語で出力して下さい。


section

マッレ・バッベ

material           = Oil on canvas subject            =  height_metric      = 75 width_metric       = 64 height_imperial    =  width_imperial     =  metric_unit        = cm imperial_unit      = in condition          =  city               = Berlin museum             = Gemäldegalerie accession          =  coordinates        =  owner              =  url                = }}Malle Babbe is a painting by the Dutch Golden Age painter Frans Hals, painted c. 1633-1635, and now in the Gemäldegalerie, in Berlin. The painting has also been titled as Hille Bobbe or the Witch of Haarlem. It was traditionally interpreted as a tronie, or genre painting in a portrait format, depicting a mythic witch-figure. The painting is now often identified as a genre-style portrait of a specific individual from Haarlem, known as Malle  Babbe, who may have been an alcoholic or suffered from a mental illness.

Prompt: マッレ・バッベに関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

マッレ・バッベ

The painting is an oil on canvas measuring 75 × 64 cm and shows the face of a smiling woman, sitting at the corner of a table, apparently talking or laughing at someone or something to the right of the canvas. With her right hand, the woman is gripping a pewter beer mug with an opened lid. An owl sits on the woman's left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem. Her face is animated in an almost manic grimace. The very free handling of paint is typical of Hals' style, and not very different from that on his more formal commissioned portraits.

Prompt: マッレ・バッベに焦点を当てて、その絵画を説明してください。英語で出力して下さい。


section

マッレ・バッベ

The painting is an oil on canvas measuring 75 × 64 cm and shows the face of a smiling woman, sitting at the corner of a table, apparently talking or laughing at someone or something to the right of the canvas. With her right hand, the woman is gripping a pewter beer mug with an opened lid. An owl sits on the woman's left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem. Her face is animated in an almost manic grimace. The very free handling of paint is typical of Hals' style, and not very different from that on his more formal commissioned portraits.

Prompt: マッレ・バッベの絵画を説明してください。英語で出力して下さい。


section

マッレ・バッベ

The painting is an oil on canvas measuring 75 × 64 cm and shows the face of a smiling woman, sitting at the corner of a table, apparently talking or laughing at someone or something to the right of the canvas. With her right hand, the woman is gripping a pewter beer mug with an opened lid. An owl sits on the woman's left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem. Her face is animated in an almost manic grimace. The very free handling of paint is typical of Hals' style, and not very different from that on his more formal commissioned portraits.

Prompt: マッレ・バッベはどのように絵画を説明していますか？英語で出力して下さい。


section

マッレ・バッベ

The painting is an oil on canvas measuring 75 × 64 cm and shows the face of a smiling woman, sitting at the corner of a table, apparently talking or laughing at someone or something to the right of the canvas. With her right hand, the woman is gripping a pewter beer mug with an opened lid. An owl sits on the woman's left shoulder. The clothing of the woman is simple and corresponds with the mode around 1630 in Haarlem. Her face is animated in an almost manic grimace. The very free handling of paint is typical of Hals' style, and not very different from that on his more formal commissioned portraits.

Prompt: マッレ・バッベに関して、どのように絵画が議論されていますか？英語で出力して下さい。


section

マッレ・バッベ

The painting was for a long time mislabelled as Retarded Man  through a misreading of the inscription on the back of the picture frame which in fact reads Malle Babbe van Haerlem … Fr[a]ns Hals .Under the witch interpretation, the owl was considered a possible familiar. However the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, "drunk as an owl."

Prompt: マッレ・バッベに焦点を当てて、その名前を説明してください。英語で出力して下さい。


section

マッレ・バッベ

The painting was for a long time mislabelled as Retarded Man  through a misreading of the inscription on the back of the picture frame which in fact reads Malle Babbe van Haerlem … Fr[a]ns Hals .Under the witch interpretation, the owl was considered a possible familiar. However the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, "drunk as an owl."

Prompt: マッレ・バッベの名前を説明してください。英語で出力して下さい。


section

マッレ・バッベ

The painting was for a long time mislabelled as Retarded Man  through a misreading of the inscription on the back of the picture frame which in fact reads Malle Babbe van Haerlem … Fr[a]ns Hals .Under the witch interpretation, the owl was considered a possible familiar. However the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, "drunk as an owl."

Prompt: マッレ・バッベはどのように名前を説明していますか？英語で出力して下さい。


section

マッレ・バッベ

The painting was for a long time mislabelled as Retarded Man  through a misreading of the inscription on the back of the picture frame which in fact reads Malle Babbe van Haerlem … Fr[a]ns Hals .Under the witch interpretation, the owl was considered a possible familiar. However the subject matter of Frans Hals in his other paintings would suggest that the painting is probably of a pub scene, in which case the owl would reflect the Dutch proverb, "drunk as an owl."

Prompt: マッレ・バッベに関して、どのように名前が議論されていますか？英語で出力して下さい。


section

マッレ・バッベ

Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, named Barbara Claes. She was included in a list of residents of the local hospital called Het Dolhuys, situated outside the city walls, which served people who were dangerous to themselves or to society, as well as a hospice for travellers arriving after the city gates had closed.  Around 1642, Pieter Hals, a son of Frans Hals, was also in this hospice. Hals and this Malle Babbe had probably already met by this time, as she was evidently a known personality in Haarlem, although none other of her biographical details survive except that she died in 1663. In Dutch the adjective "Malle" signifies "loony" and it is not uncommon to see painters or writers depict this type of village figure. In this type of depiction one can find a record of unbalanced figures of society as belonging to the scenery of everyday life, or the artist may enjoy exploring the thin line between sanity and lunacy.

Prompt: マッレ・バッベに焦点を当てて、そのザリアルマレバッベを説明してください。英語で出力して下さい。


section

マッレ・バッベ

Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, named Barbara Claes. She was included in a list of residents of the local hospital called Het Dolhuys, situated outside the city walls, which served people who were dangerous to themselves or to society, as well as a hospice for travellers arriving after the city gates had closed.  Around 1642, Pieter Hals, a son of Frans Hals, was also in this hospice. Hals and this Malle Babbe had probably already met by this time, as she was evidently a known personality in Haarlem, although none other of her biographical details survive except that she died in 1663. In Dutch the adjective "Malle" signifies "loony" and it is not uncommon to see painters or writers depict this type of village figure. In this type of depiction one can find a record of unbalanced figures of society as belonging to the scenery of everyday life, or the artist may enjoy exploring the thin line between sanity and lunacy.

Prompt: マッレ・バッベのザリアルマレバッベを説明してください。英語で出力して下さい。


section

マッレ・バッベ

Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, named Barbara Claes. She was included in a list of residents of the local hospital called Het Dolhuys, situated outside the city walls, which served people who were dangerous to themselves or to society, as well as a hospice for travellers arriving after the city gates had closed.  Around 1642, Pieter Hals, a son of Frans Hals, was also in this hospice. Hals and this Malle Babbe had probably already met by this time, as she was evidently a known personality in Haarlem, although none other of her biographical details survive except that she died in 1663. In Dutch the adjective "Malle" signifies "loony" and it is not uncommon to see painters or writers depict this type of village figure. In this type of depiction one can find a record of unbalanced figures of society as belonging to the scenery of everyday life, or the artist may enjoy exploring the thin line between sanity and lunacy.

Prompt: マッレ・バッベはどのようにザリアルマレバッベを説明していますか？英語で出力して下さい。


section

マッレ・バッベ

Research in the Netherlands municipality of Haarlem showed that a real Malle Babbe actually existed, named Barbara Claes. She was included in a list of residents of the local hospital called Het Dolhuys, situated outside the city walls, which served people who were dangerous to themselves or to society, as well as a hospice for travellers arriving after the city gates had closed.  Around 1642, Pieter Hals, a son of Frans Hals, was also in this hospice. Hals and this Malle Babbe had probably already met by this time, as she was evidently a known personality in Haarlem, although none other of her biographical details survive except that she died in 1663. In Dutch the adjective "Malle" signifies "loony" and it is not uncommon to see painters or writers depict this type of village figure. In this type of depiction one can find a record of unbalanced figures of society as belonging to the scenery of everyday life, or the artist may enjoy exploring the thin line between sanity and lunacy.

Prompt: マッレ・バッベに関して、どのようにザリアルマレバッベが議論されていますか？英語で出力して下さい。


section

マッレ・バッベ

The Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is. In the past it was also attributed to Frans Hals, but it is now thought to be the work of one of his pupils. There are also two portraits apparently depicting Babbe, but without the owl.Han van Meegeren created a version of the subject in the style of Vermeer which is now being exhibited in the Rijksmuseum.

Prompt: マッレ・バッベに焦点を当てて、その他の絵画を説明してください。英語で出力して下さい。

Frans Hals
Han van Meegeren
Metropolitan Museum of Art
New York City
Rijksmuseum


section

マッレ・バッベ

The Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is. In the past it was also attributed to Frans Hals, but it is now thought to be the work of one of his pupils. There are also two portraits apparently depicting Babbe, but without the owl.Han van Meegeren created a version of the subject in the style of Vermeer which is now being exhibited in the Rijksmuseum.

Prompt: マッレ・バッベの他の絵画を説明してください。英語で出力して下さい。

Frans Hals
Han van Meegeren
Metropolitan Museum of Art
New York City
Rijksmuseum


section

マッレ・バッベ

The Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is. In the past it was also attributed to Frans Hals, but it is now thought to be the work of one of his pupils. There are also two portraits apparently depicting Babbe, but without the owl.Han van Meegeren created a version of the subject in the style of Vermeer which is now being exhibited in the Rijksmuseum.

Prompt: マッレ・バッベはどのように他の絵画を説明していますか？英語で出力して下さい。

Frans Hals
Han van Meegeren
Metropolitan Museum of Art
New York City
Rijksmuseum


section

マッレ・バッベ

The Metropolitan Museum of Art in New York City is in possession of a similar painting. It is not clear who the creator of this painting is. In the past it was also attributed to Frans Hals, but it is now thought to be the work of one of his pupils. There are also two portraits apparently depicting Babbe, but without the owl.Han van Meegeren created a version of the subject in the style of Vermeer which is now being exhibited in the Rijksmuseum.

Prompt: マッレ・バッベに関して、どのように他の絵画が議論されていますか？英語で出力して下さい。

Frans Hals
Han van Meegeren
Metropolitan Museum of Art
New York City
Rijksmuseum


section

マッレ・バッベ

</ref> }}In the Netherlands, the painting also gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs. The actual subject of the song "Malle Babbe" however was inspired by another painting by Frans Hals, The Gypsy Girl, depicting a busty young woman, possibly a prostitute.  The song celebrates her lusty sexuality. However, it also refers to her having frothy beer in a tavern, the setting for Malle Babbe, not The Gypsy Girl. Both pictures were seen by Nijgh in a 1962 exhibition.

Prompt: マッレ・バッベに焦点を当てて、その歌を説明してください。英語で出力して下さい。

Boudewijn de Groot
Frans Hals
Lennaert Nijgh
Netherlands
Rob de Nijs


section

マッレ・バッベ

</ref> }}In the Netherlands, the painting also gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs. The actual subject of the song "Malle Babbe" however was inspired by another painting by Frans Hals, The Gypsy Girl, depicting a busty young woman, possibly a prostitute.  The song celebrates her lusty sexuality. However, it also refers to her having frothy beer in a tavern, the setting for Malle Babbe, not The Gypsy Girl. Both pictures were seen by Nijgh in a 1962 exhibition.

Prompt: マッレ・バッベの歌を説明してください。英語で出力して下さい。

Boudewijn de Groot
Frans Hals
Lennaert Nijgh
Netherlands
Rob de Nijs


section

マッレ・バッベ

</ref> }}In the Netherlands, the painting also gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs. The actual subject of the song "Malle Babbe" however was inspired by another painting by Frans Hals, The Gypsy Girl, depicting a busty young woman, possibly a prostitute.  The song celebrates her lusty sexuality. However, it also refers to her having frothy beer in a tavern, the setting for Malle Babbe, not The Gypsy Girl. Both pictures were seen by Nijgh in a 1962 exhibition.

Prompt: マッレ・バッベはどのように歌を説明していますか？英語で出力して下さい。

Boudewijn de Groot
Frans Hals
Lennaert Nijgh
Netherlands
Rob de Nijs


section

マッレ・バッベ

</ref> }}In the Netherlands, the painting also gave its name to a well-known song, written by Boudewijn de Groot and Lennaert Nijgh and first performed in 1973 by Rob de Nijs. The actual subject of the song "Malle Babbe" however was inspired by another painting by Frans Hals, The Gypsy Girl, depicting a busty young woman, possibly a prostitute.  The song celebrates her lusty sexuality. However, it also refers to her having frothy beer in a tavern, the setting for Malle Babbe, not The Gypsy Girl. Both pictures were seen by Nijgh in a 1962 exhibition.

Prompt: マッレ・バッベに関して、どのように歌が議論されていますか？英語で出力して下さい。

Boudewijn de Groot
Frans Hals
Lennaert Nijgh
Netherlands
Rob de Nijs


section

マッレ・バッベ

Prompt: マッレ・バッベに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Frans Hals
List of paintings by Frans Hals


section

マッレ・バッベ

Prompt: マッレ・バッベの参照を説明してください。英語で出力して下さい。

Frans Hals
List of paintings by Frans Hals


section

マッレ・バッベ

Prompt: マッレ・バッベ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。

Frans Hals
List of paintings by Frans Hals


section

マッレ・バッベ

Prompt: マッレ・バッベに関して、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。

Frans Hals
List of paintings by Frans Hals


section

青い冠の聖母

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen,  Slumbering Child and Silence of the Holy Virgin.

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


section

青い冠の聖母

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen,  Slumbering Child and Silence of the Holy Virgin.

Prompt: 青い冠の聖母の抽象を説明してください。英語で出力して下さい。


section

青い冠の聖母

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen,  Slumbering Child and Silence of the Holy Virgin.

Prompt: 青い冠の聖母はどのように抽象を説明していますか？英語で出力して下さい。


section

青い冠の聖母

The Madonna with the Blue Diadem is a painting by Raphael and his pupil Gianfrancesco Penni, and was most likely painted in Rome around 1510-1512, now at the Louvre. In the Louvre, the painting is named Virgin and Child with the Infant Saint John, also known as Virgin with the Veil or Virgin with the Blue Diadem. Additional names include Virgin with the Linen,  Slumbering Child and Silence of the Holy Virgin.

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


section

青い冠の聖母

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined. and descended to his heir, the Marquis de la Vallière.In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the  Vallière Collection in Paris. to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired  from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

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


section

青い冠の聖母

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined. and descended to his heir, the Marquis de la Vallière.In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the  Vallière Collection in Paris. to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired  from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

Prompt: 青い冠の聖母の歴史を説明してください。英語で出力して下さい。


section

青い冠の聖母

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined. and descended to his heir, the Marquis de la Vallière.In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the  Vallière Collection in Paris. to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired  from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

Prompt: 青い冠の聖母はどのように歴史を説明していますか？英語で出力して下さい。


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青い冠の聖母

Legend has it that at one time the panel, split in two, was used to cover casks in Pescia. Once found, they are said to have been expertly joined. and descended to his heir, the Marquis de la Vallière.In 1620 the painting was owned by the Marquis de la Vallière, Secretary of State, as part of the  Vallière Collection in Paris. to Louis XV in 1743.The last Raphael painting to enter the French Royal Collection, it was acquired  from the Prince of Carignan in 1742 dispersed to Louis XV in 1743.

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


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青い冠の聖母

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder.  Both the Virgin and John are in profile.  Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruinsThere is also refinement in the features and limbs of the Christ child.  The child is very calm, contrasted to the expression of awe and adoration by the young John.

Prompt: 青い冠の聖母に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

青い冠の聖母

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder.  Both the Virgin and John are in profile.  Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruinsThere is also refinement in the features and limbs of the Christ child.  The child is very calm, contrasted to the expression of awe and adoration by the young John.

Prompt: 青い冠の聖母の説明を説明してください。英語で出力して下さい。


section

青い冠の聖母

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder.  Both the Virgin and John are in profile.  Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruinsThere is also refinement in the features and limbs of the Christ child.  The child is very calm, contrasted to the expression of awe and adoration by the young John.

Prompt: 青い冠の聖母はどのように説明を説明していますか？英語で出力して下さい。


section

青い冠の聖母

Although there are several artists involved, the composition is almost certainly that of Raphael. Due to the use of bright, acid colors and the porcelain-like finish, it is thought that the finishing of the composition may have been the work of one of his pupils, Giovanfrancesco Penni, and to be dated around 1518.Here the Virgin lifts the veil over the sleeping Child, who is turned toward the audience, with her other arm around the young John the Baptist, who has a reed across his shoulder.  Both the Virgin and John are in profile.  Attached to a blue diadem, a veil that flows down her head, across her shoulders and clings to her arms. A draped tunic, belted at the waist, flowing overtop her red underdress.While the paintings has some similarity to the Madonna of Loreto, Raphael make a more dramatic statement, such as through the use of ruinsThere is also refinement in the features and limbs of the Christ child.  The child is very calm, contrasted to the expression of awe and adoration by the young John.

Prompt: 青い冠の聖母に関して、どのように説明が議論されていますか？英語で出力して下さい。


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豪奢、静寂、逸楽

Luxe, Calme et Volupté is a 1904 oil painting by the French artist Henri Matisse. Both foundational in the oeuvre of Matisse and a pivotal work in the history of art, Luxe, Calme et Volupté is considered the starting point of Fauvism. This painting is a dynamic and vibrant work created early on in his career as a painter. It displays an evolution of the Neo-Impressionist style mixed with a new conceptual meaning based in fantasy and leisure that had not been seen in works before.

Prompt: 豪奢、静寂、逸楽に焦点を当てて、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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豪奢、静寂、逸楽

Luxe, Calme et Volupté is a 1904 oil painting by the French artist Henri Matisse. Both foundational in the oeuvre of Matisse and a pivotal work in the history of art, Luxe, Calme et Volupté is considered the starting point of Fauvism. This painting is a dynamic and vibrant work created early on in his career as a painter. It displays an evolution of the Neo-Impressionist style mixed with a new conceptual meaning based in fantasy and leisure that had not been seen in works before.

Prompt: 豪奢、静寂、逸楽の抽象を説明してください。英語で出力して下さい。


section

豪奢、静寂、逸楽

Luxe, Calme et Volupté is a 1904 oil painting by the French artist Henri Matisse. Both foundational in the oeuvre of Matisse and a pivotal work in the history of art, Luxe, Calme et Volupté is considered the starting point of Fauvism. This painting is a dynamic and vibrant work created early on in his career as a painter. It displays an evolution of the Neo-Impressionist style mixed with a new conceptual meaning based in fantasy and leisure that had not been seen in works before.

Prompt: 豪奢、静寂、逸楽はどのように抽象を説明していますか？英語で出力して下さい。


section

豪奢、静寂、逸楽

Luxe, Calme et Volupté is a 1904 oil painting by the French artist Henri Matisse. Both foundational in the oeuvre of Matisse and a pivotal work in the history of art, Luxe, Calme et Volupté is considered the starting point of Fauvism. This painting is a dynamic and vibrant work created early on in his career as a painter. It displays an evolution of the Neo-Impressionist style mixed with a new conceptual meaning based in fantasy and leisure that had not been seen in works before.

Prompt: 豪奢、静寂、逸楽に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

豪奢、静寂、逸楽

Prior to the beginning of his Fauvist period Matisse had been formally educated in the arts and started his career copying works from old masters. His first original works resembled those from his education. After he left school, influence from Impressionism developed into his work and gradually led him to the Post-Impressionist movement where this style stuck with him until it evolved into Fauvism. Matisse frequently purchased works from artists such as Cézanne, Van Gogh, and Gauguin during his time before Fauvism that influenced his painting and the development of his style over time.Luxe, Calme et Volupté was painted by Matisse in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the Neo-Impressionist painters Paul Signac and Henri-Edmond Cross. Signac purchased the work, which was exhibited in 1905 at the Salon des Indépendants.The painting's title comes from the poem L'Invitation au voyage, from Charles Baudelaire's volume Les Fleurs du mal :There, all is order and beauty,Luxury, peace, and pleasure.}}

Prompt: 豪奢、静寂、逸楽に焦点を当てて、その背景を説明してください。英語で出力して下さい。

Charles Baudelaire
Fauvism
French Riviera
Henri-Edmond Cross
Les Fleurs du mal
Paul Signac


section

豪奢、静寂、逸楽

Prior to the beginning of his Fauvist period Matisse had been formally educated in the arts and started his career copying works from old masters. His first original works resembled those from his education. After he left school, influence from Impressionism developed into his work and gradually led him to the Post-Impressionist movement where this style stuck with him until it evolved into Fauvism. Matisse frequently purchased works from artists such as Cézanne, Van Gogh, and Gauguin during his time before Fauvism that influenced his painting and the development of his style over time.Luxe, Calme et Volupté was painted by Matisse in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the Neo-Impressionist painters Paul Signac and Henri-Edmond Cross. Signac purchased the work, which was exhibited in 1905 at the Salon des Indépendants.The painting's title comes from the poem L'Invitation au voyage, from Charles Baudelaire's volume Les Fleurs du mal :There, all is order and beauty,Luxury, peace, and pleasure.}}

Prompt: 豪奢、静寂、逸楽の背景を説明してください。英語で出力して下さい。

Charles Baudelaire
Fauvism
French Riviera
Henri-Edmond Cross
Les Fleurs du mal
Paul Signac


section

豪奢、静寂、逸楽

Prior to the beginning of his Fauvist period Matisse had been formally educated in the arts and started his career copying works from old masters. His first original works resembled those from his education. After he left school, influence from Impressionism developed into his work and gradually led him to the Post-Impressionist movement where this style stuck with him until it evolved into Fauvism. Matisse frequently purchased works from artists such as Cézanne, Van Gogh, and Gauguin during his time before Fauvism that influenced his painting and the development of his style over time.Luxe, Calme et Volupté was painted by Matisse in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the Neo-Impressionist painters Paul Signac and Henri-Edmond Cross. Signac purchased the work, which was exhibited in 1905 at the Salon des Indépendants.The painting's title comes from the poem L'Invitation au voyage, from Charles Baudelaire's volume Les Fleurs du mal :There, all is order and beauty,Luxury, peace, and pleasure.}}

Prompt: 豪奢、静寂、逸楽はどのように背景を説明していますか？英語で出力して下さい。

Charles Baudelaire
Fauvism
French Riviera
Henri-Edmond Cross
Les Fleurs du mal
Paul Signac


section

豪奢、静寂、逸楽

Prior to the beginning of his Fauvist period Matisse had been formally educated in the arts and started his career copying works from old masters. His first original works resembled those from his education. After he left school, influence from Impressionism developed into his work and gradually led him to the Post-Impressionist movement where this style stuck with him until it evolved into Fauvism. Matisse frequently purchased works from artists such as Cézanne, Van Gogh, and Gauguin during his time before Fauvism that influenced his painting and the development of his style over time.Luxe, Calme et Volupté was painted by Matisse in 1904, after a summer spent working in St. Tropez on the French Riviera alongside the Neo-Impressionist painters Paul Signac and Henri-Edmond Cross. Signac purchased the work, which was exhibited in 1905 at the Salon des Indépendants.The painting's title comes from the poem L'Invitation au voyage, from Charles Baudelaire's volume Les Fleurs du mal :There, all is order and beauty,Luxury, peace, and pleasure.}}

Prompt: 豪奢、静寂、逸楽に関して、どのように背景が議論されていますか？英語で出力して下さい。

Charles Baudelaire
Fauvism
French Riviera
Henri-Edmond Cross
Les Fleurs du mal
Paul Signac


section

豪奢、静寂、逸楽

The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac. Divisionism is created by individual dots of colors placed strategically on the canvas in order to appear blended from a distance; Matisse's variant of this style is created by numerous short dashes of color to develop the forms that are seen in the image. He first adopted the style after reading Signac's essay "D'Eugène Delacroix au Néo-impressionisme" in 1898.The simplification of form and details is a trademark of Fauvist landscapes in which artists intentionally created artificial structures that distorted the reality of images. Many of these same qualities can be found in Matisse's other works. Other Fauvist painters worked on large scale landscapes that did not focus as much on figures within the composition as with Matisse's works.

Prompt: 豪奢、静寂、逸楽に焦点を当てて、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

豪奢、静寂、逸楽

The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac. Divisionism is created by individual dots of colors placed strategically on the canvas in order to appear blended from a distance; Matisse's variant of this style is created by numerous short dashes of color to develop the forms that are seen in the image. He first adopted the style after reading Signac's essay "D'Eugène Delacroix au Néo-impressionisme" in 1898.The simplification of form and details is a trademark of Fauvist landscapes in which artists intentionally created artificial structures that distorted the reality of images. Many of these same qualities can be found in Matisse's other works. Other Fauvist painters worked on large scale landscapes that did not focus as much on figures within the composition as with Matisse's works.

Prompt: 豪奢、静寂、逸楽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

豪奢、静寂、逸楽

The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac. Divisionism is created by individual dots of colors placed strategically on the canvas in order to appear blended from a distance; Matisse's variant of this style is created by numerous short dashes of color to develop the forms that are seen in the image. He first adopted the style after reading Signac's essay "D'Eugène Delacroix au Néo-impressionisme" in 1898.The simplification of form and details is a trademark of Fauvist landscapes in which artists intentionally created artificial structures that distorted the reality of images. Many of these same qualities can be found in Matisse's other works. Other Fauvist painters worked on large scale landscapes that did not focus as much on figures within the composition as with Matisse's works.

Prompt: 豪奢、静寂、逸楽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

豪奢、静寂、逸楽

The painting is Matisse's most important work in which he used the Divisionist technique advocated by Signac. Divisionism is created by individual dots of colors placed strategically on the canvas in order to appear blended from a distance; Matisse's variant of this style is created by numerous short dashes of color to develop the forms that are seen in the image. He first adopted the style after reading Signac's essay "D'Eugène Delacroix au Néo-impressionisme" in 1898.The simplification of form and details is a trademark of Fauvist landscapes in which artists intentionally created artificial structures that distorted the reality of images. Many of these same qualities can be found in Matisse's other works. Other Fauvist painters worked on large scale landscapes that did not focus as much on figures within the composition as with Matisse's works.

Prompt: 豪奢、静寂、逸楽に関して、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。


section

豪奢、静寂、逸楽

Scholars suggest that interpreting the paintings requires the viewer to acknowledge its resistance to interpretation. Matisse's previous works were all firmly rooted in the visual aspects of Post-Impression leading scholars to question how his work had taken such a drastic turn into a depiction of fantasy. David Carrier writes that the painting is ambiguous and lacks reference to any of its supposed sources of inspiration. Despite the literary source for the work's title, Luxe, Calme, et Volupté, it is not related to the narrative of poem in any way.

Prompt: 豪奢、静寂、逸楽に焦点を当てて、その解釈を説明してください。英語で出力して下さい。


section

豪奢、静寂、逸楽

Scholars suggest that interpreting the paintings requires the viewer to acknowledge its resistance to interpretation. Matisse's previous works were all firmly rooted in the visual aspects of Post-Impression leading scholars to question how his work had taken such a drastic turn into a depiction of fantasy. David Carrier writes that the painting is ambiguous and lacks reference to any of its supposed sources of inspiration. Despite the literary source for the work's title, Luxe, Calme, et Volupté, it is not related to the narrative of poem in any way.

Prompt: 豪奢、静寂、逸楽の解釈を説明してください。英語で出力して下さい。


section

豪奢、静寂、逸楽

Scholars suggest that interpreting the paintings requires the viewer to acknowledge its resistance to interpretation. Matisse's previous works were all firmly rooted in the visual aspects of Post-Impression leading scholars to question how his work had taken such a drastic turn into a depiction of fantasy. David Carrier writes that the painting is ambiguous and lacks reference to any of its supposed sources of inspiration. Despite the literary source for the work's title, Luxe, Calme, et Volupté, it is not related to the narrative of poem in any way.

Prompt: 豪奢、静寂、逸楽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。


section

豪奢、静寂、逸楽

Scholars suggest that interpreting the paintings requires the viewer to acknowledge its resistance to interpretation. Matisse's previous works were all firmly rooted in the visual aspects of Post-Impression leading scholars to question how his work had taken such a drastic turn into a depiction of fantasy. David Carrier writes that the painting is ambiguous and lacks reference to any of its supposed sources of inspiration. Despite the literary source for the work's title, Luxe, Calme, et Volupté, it is not related to the narrative of poem in any way.

Prompt: 豪奢、静寂、逸楽に関して、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。


section

豪奢、静寂、逸楽

1905, in the collection of Paul Signac, purchased from MatisseCollection Ginette Signac, daughter of the artist1982, accepted by the French state for Les Musées Nationaux 1982 to 1985, attributed to the Musée National d'Art Moderne, Paris1985, moved to Musée d'Orsay

Prompt: 豪奢、静寂、逸楽に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Musée National d'Art Moderne
Musée d'Orsay
Paris
Paul Signac


section

豪奢、静寂、逸楽

1905, in the collection of Paul Signac, purchased from MatisseCollection Ginette Signac, daughter of the artist1982, accepted by the French state for Les Musées Nationaux 1982 to 1985, attributed to the Musée National d'Art Moderne, Paris1985, moved to Musée d'Orsay

Prompt: 豪奢、静寂、逸楽の歴史を説明してください。英語で出力して下さい。

Musée National d'Art Moderne
Musée d'Orsay
Paris
Paul Signac


section

豪奢、静寂、逸楽

1905, in the collection of Paul Signac, purchased from MatisseCollection Ginette Signac, daughter of the artist1982, accepted by the French state for Les Musées Nationaux 1982 to 1985, attributed to the Musée National d'Art Moderne, Paris1985, moved to Musée d'Orsay

Prompt: 豪奢、静寂、逸楽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。

Musée National d'Art Moderne
Musée d'Orsay
Paris
Paul Signac


section

豪奢、静寂、逸楽

1905, in the collection of Paul Signac, purchased from MatisseCollection Ginette Signac, daughter of the artist1982, accepted by the French state for Les Musées Nationaux 1982 to 1985, attributed to the Musée National d'Art Moderne, Paris1985, moved to Musée d'Orsay

Prompt: 豪奢、静寂、逸楽に関して、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。

Musée National d'Art Moderne
Musée d'Orsay
Paris
Paul Signac


section

豪奢、静寂、逸楽

Salon de la Société des artistes indépendants. 21st exhibition, Paris, France, 1905Henri Matisse, chapelle, peintures, dessins, sculptures, Paris, France, 1950Le Fauvisme, Paris, France, 1951Henri Matisse, New York, USA, 1951Henri Matisse, Cleveland, USA, 1952Henri Matisse, Chicago, USA, 1952Henri Matisse, San Francisco, USA, 1952Salon d'automne, Paris, France, 1955Henri Matisse, retrospective exhibition, Paris, 1956Cent chefs-d'oeuvre de l'art français, 1750–1950, Paris, 1957Les sources du XXème siècle - les arts en Europe de 1884 à 1914, Paris, 1960Les Fauves, Paris, 1962Le Fauvisme français et les débuts de l'Expressionnisme allemand, Paris, 1966Le Fauvisme français et les débuts de l'Expressionisme allemand, Munich, Germany, 1966Neo-Impressionism, New York, 1968Baudelaire, Paris, 1968Henri Matisse. Exposition du centenaire, Paris, 1970Henri Matisse, Zurich, Switzerland, 1982Henri Matisse, Düsseldorf, Germany, 1983De Manet à Matisse, 7 ans d'enrichissement au musée d'Orsay, Paris, 1990Le Fauvisme ou "l'épreuve du feu", éruption de la modernité en Europe, Paris, 19991900, Paris, 2000Méditerranée - De Courbet à Matisse, Paris, 2000Le néo-impressionnisme de Seurat à Paul Klee, Paris, 2005

Prompt: 豪奢、静寂、逸楽に焦点を当てて、その展示会を説明してください。英語で出力して下さい。

Fauvism
Henri Matisse
Neo-Impressionism
Paris


section

豪奢、静寂、逸楽

Salon de la Société des artistes indépendants. 21st exhibition, Paris, France, 1905Henri Matisse, chapelle, peintures, dessins, sculptures, Paris, France, 1950Le Fauvisme, Paris, France, 1951Henri Matisse, New York, USA, 1951Henri Matisse, Cleveland, USA, 1952Henri Matisse, Chicago, USA, 1952Henri Matisse, San Francisco, USA, 1952Salon d'automne, Paris, France, 1955Henri Matisse, retrospective exhibition, Paris, 1956Cent chefs-d'oeuvre de l'art français, 1750–1950, Paris, 1957Les sources du XXème siècle - les arts en Europe de 1884 à 1914, Paris, 1960Les Fauves, Paris, 1962Le Fauvisme français et les débuts de l'Expressionnisme allemand, Paris, 1966Le Fauvisme français et les débuts de l'Expressionisme allemand, Munich, Germany, 1966Neo-Impressionism, New York, 1968Baudelaire, Paris, 1968Henri Matisse. Exposition du centenaire, Paris, 1970Henri Matisse, Zurich, Switzerland, 1982Henri Matisse, Düsseldorf, Germany, 1983De Manet à Matisse, 7 ans d'enrichissement au musée d'Orsay, Paris, 1990Le Fauvisme ou "l'épreuve du feu", éruption de la modernité en Europe, Paris, 19991900, Paris, 2000Méditerranée - De Courbet à Matisse, Paris, 2000Le néo-impressionnisme de Seurat à Paul Klee, Paris, 2005

Prompt: 豪奢、静寂、逸楽の展示会を説明してください。英語で出力して下さい。

Fauvism
Henri Matisse
Neo-Impressionism
Paris


section

豪奢、静寂、逸楽

Salon de la Société des artistes indépendants. 21st exhibition, Paris, France, 1905Henri Matisse, chapelle, peintures, dessins, sculptures, Paris, France, 1950Le Fauvisme, Paris, France, 1951Henri Matisse, New York, USA, 1951Henri Matisse, Cleveland, USA, 1952Henri Matisse, Chicago, USA, 1952Henri Matisse, San Francisco, USA, 1952Salon d'automne, Paris, France, 1955Henri Matisse, retrospective exhibition, Paris, 1956Cent chefs-d'oeuvre de l'art français, 1750–1950, Paris, 1957Les sources du XXème siècle - les arts en Europe de 1884 à 1914, Paris, 1960Les Fauves, Paris, 1962Le Fauvisme français et les débuts de l'Expressionnisme allemand, Paris, 1966Le Fauvisme français et les débuts de l'Expressionisme allemand, Munich, Germany, 1966Neo-Impressionism, New York, 1968Baudelaire, Paris, 1968Henri Matisse. Exposition du centenaire, Paris, 1970Henri Matisse, Zurich, Switzerland, 1982Henri Matisse, Düsseldorf, Germany, 1983De Manet à Matisse, 7 ans d'enrichissement au musée d'Orsay, Paris, 1990Le Fauvisme ou "l'épreuve du feu", éruption de la modernité en Europe, Paris, 19991900, Paris, 2000Méditerranée - De Courbet à Matisse, Paris, 2000Le néo-impressionnisme de Seurat à Paul Klee, Paris, 2005

Prompt: 豪奢、静寂、逸楽はどのように展示会を説明していますか？英語で出力して下さい。

Fauvism
Henri Matisse
Neo-Impressionism
Paris


section

豪奢、静寂、逸楽

Salon de la Société des artistes indépendants. 21st exhibition, Paris, France, 1905Henri Matisse, chapelle, peintures, dessins, sculptures, Paris, France, 1950Le Fauvisme, Paris, France, 1951Henri Matisse, New York, USA, 1951Henri Matisse, Cleveland, USA, 1952Henri Matisse, Chicago, USA, 1952Henri Matisse, San Francisco, USA, 1952Salon d'automne, Paris, France, 1955Henri Matisse, retrospective exhibition, Paris, 1956Cent chefs-d'oeuvre de l'art français, 1750–1950, Paris, 1957Les sources du XXème siècle - les arts en Europe de 1884 à 1914, Paris, 1960Les Fauves, Paris, 1962Le Fauvisme français et les débuts de l'Expressionnisme allemand, Paris, 1966Le Fauvisme français et les débuts de l'Expressionisme allemand, Munich, Germany, 1966Neo-Impressionism, New York, 1968Baudelaire, Paris, 1968Henri Matisse. Exposition du centenaire, Paris, 1970Henri Matisse, Zurich, Switzerland, 1982Henri Matisse, Düsseldorf, Germany, 1983De Manet à Matisse, 7 ans d'enrichissement au musée d'Orsay, Paris, 1990Le Fauvisme ou "l'épreuve du feu", éruption de la modernité en Europe, Paris, 19991900, Paris, 2000Méditerranée - De Courbet à Matisse, Paris, 2000Le néo-impressionnisme de Seurat à Paul Klee, Paris, 2005

Prompt: 豪奢、静寂、逸楽に関して、どのように展示会が議論されていますか？英語で出力して下さい。

Fauvism
Henri Matisse
Neo-Impressionism
Paris


section

豪奢、静寂、逸楽

UCLA Art Council, Leymarie, J., Read, H. E., & Lieberman, W. S. . Henri Matisse retrospective 1966. Los Angeles: UCLA Art Gallery.

Prompt: 豪奢、静寂、逸楽に焦点を当てて、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

豪奢、静寂、逸楽

UCLA Art Council, Leymarie, J., Read, H. E., & Lieberman, W. S. . Henri Matisse retrospective 1966. Los Angeles: UCLA Art Gallery.

Prompt: 豪奢、静寂、逸楽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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豪奢、静寂、逸楽

UCLA Art Council, Leymarie, J., Read, H. E., & Lieberman, W. S. . Henri Matisse retrospective 1966. Los Angeles: UCLA Art Gallery.

Prompt: 豪奢、静寂、逸楽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

豪奢、静寂、逸楽

UCLA Art Council, Leymarie, J., Read, H. E., & Lieberman, W. S. . Henri Matisse retrospective 1966. Los Angeles: UCLA Art Gallery.

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


section

豪奢、静寂、逸楽

Prompt: 豪奢、静寂、逸楽に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Henri Matisse
List of works by Henri Matisse


section

豪奢、静寂、逸楽

Prompt: 豪奢、静寂、逸楽の参照を説明してください。英語で出力して下さい。

Henri Matisse
List of works by Henri Matisse


section

豪奢、静寂、逸楽

Prompt: 豪奢、静寂、逸楽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。

Henri Matisse
List of works by Henri Matisse


section

豪奢、静寂、逸楽

Prompt: 豪奢、静寂、逸楽に関して、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。

Henri Matisse
List of works by Henri Matisse


section

モデナの三連祭壇画

The Modena Triptych is 1568 triptych  by the artist El Greco, who was also known as Doménikos Theotokópoulos.This portable altarpiece is painted on both sides and has an Italian Renaissance frame. The front depicts the Adoration of the Shepherds, a Christian knight being crowned by Christ in glory, and the Baptism of Jesus. The back panels show the Annunciation to Mary, Mount Sinai, and Adam and Eve. The back panel shows pilgrims on the way to the Saint Catherine's Monastery in Egypt as if on their way to Heaven.

Prompt: モデナの三連祭壇画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Adam and Eve
Adoration of the Shepherds
Annunciation
Baptism of Jesus
Egypt
El Greco
Modena
Mount Sinai
Saint Catherine's Monastery
Triptych


section

モデナの三連祭壇画

The Modena Triptych is 1568 triptych  by the artist El Greco, who was also known as Doménikos Theotokópoulos.This portable altarpiece is painted on both sides and has an Italian Renaissance frame. The front depicts the Adoration of the Shepherds, a Christian knight being crowned by Christ in glory, and the Baptism of Jesus. The back panels show the Annunciation to Mary, Mount Sinai, and Adam and Eve. The back panel shows pilgrims on the way to the Saint Catherine's Monastery in Egypt as if on their way to Heaven.

Prompt: モデナの三連祭壇画の抽象を説明してください。英語で出力して下さい。

Adam and Eve
Adoration of the Shepherds
Annunciation
Baptism of Jesus
Egypt
El Greco
Modena
Mount Sinai
Saint Catherine's Monastery
Triptych


section

モデナの三連祭壇画

The Modena Triptych is 1568 triptych  by the artist El Greco, who was also known as Doménikos Theotokópoulos.This portable altarpiece is painted on both sides and has an Italian Renaissance frame. The front depicts the Adoration of the Shepherds, a Christian knight being crowned by Christ in glory, and the Baptism of Jesus. The back panels show the Annunciation to Mary, Mount Sinai, and Adam and Eve. The back panel shows pilgrims on the way to the Saint Catherine's Monastery in Egypt as if on their way to Heaven.

Prompt: モデナの三連祭壇画はどのように抽象を説明していますか？英語で出力して下さい。

Adam and Eve
Adoration of the Shepherds
Annunciation
Baptism of Jesus
Egypt
El Greco
Modena
Mount Sinai
Saint Catherine's Monastery
Triptych


section

モデナの三連祭壇画

The Modena Triptych is 1568 triptych  by the artist El Greco, who was also known as Doménikos Theotokópoulos.This portable altarpiece is painted on both sides and has an Italian Renaissance frame. The front depicts the Adoration of the Shepherds, a Christian knight being crowned by Christ in glory, and the Baptism of Jesus. The back panels show the Annunciation to Mary, Mount Sinai, and Adam and Eve. The back panel shows pilgrims on the way to the Saint Catherine's Monastery in Egypt as if on their way to Heaven.

Prompt: モデナの三連祭壇画に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Adam and Eve
Adoration of the Shepherds
Annunciation
Baptism of Jesus
Egypt
El Greco
Modena
Mount Sinai
Saint Catherine's Monastery
Triptych


section

モデナの三連祭壇画

Prompt: モデナの三連祭壇画に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

モデナの三連祭壇画

Prompt: モデナの三連祭壇画の参照を説明してください。英語で出力して下さい。


section

モデナの三連祭壇画

Prompt: モデナの三連祭壇画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

モデナの三連祭壇画

Prompt: モデナの三連祭壇画に関して、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

モデナの三連祭壇画

Category:Paintings by El GrecoCategory:Paintings of Adam and EveCategory:Paintings of the AnnunciationCategory:Paintings of JesusCategory:Paintings of the Baptism of ChristCategory:1560s paintingsCategory:TriptychsCategory:Paintings in the Galleria EstenseCategory:ModenaCategory:Cretan Renaissance paintings

Prompt: モデナの三連祭壇画に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。

Adam and Eve
Annunciation
El Greco
Modena
Triptych


section

モデナの三連祭壇画

Category:Paintings by El GrecoCategory:Paintings of Adam and EveCategory:Paintings of the AnnunciationCategory:Paintings of JesusCategory:Paintings of the Baptism of ChristCategory:1560s paintingsCategory:TriptychsCategory:Paintings in the Galleria EstenseCategory:ModenaCategory:Cretan Renaissance paintings

Prompt: モデナの三連祭壇画の参考文献を説明してください。英語で出力して下さい。

Adam and Eve
Annunciation
El Greco
Modena
Triptych


section

モデナの三連祭壇画

Category:Paintings by El GrecoCategory:Paintings of Adam and EveCategory:Paintings of the AnnunciationCategory:Paintings of JesusCategory:Paintings of the Baptism of ChristCategory:1560s paintingsCategory:TriptychsCategory:Paintings in the Galleria EstenseCategory:ModenaCategory:Cretan Renaissance paintings

Prompt: モデナの三連祭壇画はどのように参考文献を説明していますか？英語で出力して下さい。

Adam and Eve
Annunciation
El Greco
Modena
Triptych


section

モデナの三連祭壇画

Category:Paintings by El GrecoCategory:Paintings of Adam and EveCategory:Paintings of the AnnunciationCategory:Paintings of JesusCategory:Paintings of the Baptism of ChristCategory:1560s paintingsCategory:TriptychsCategory:Paintings in the Galleria EstenseCategory:ModenaCategory:Cretan Renaissance paintings

Prompt: モデナの三連祭壇画に関して、どのように参考文献が議論されていますか？英語で出力して下さい。

Adam and Eve
Annunciation
El Greco
Modena
Triptych


section

イネス・モワテシエ夫人の肖像

Madame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier  begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, is now in the collection of the National Gallery in London, which acquired it in 1936.Madame Moitessier is also the title of a second portrait by Ingres, which depicts her standing; it was painted in 1851 and is now in the collection of the National Gallery of Art, Washington, D.C.

Prompt: イネス・モワテシエ夫人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。

Jean-Auguste-Dominique Ingres
London
National Gallery
National Gallery of Art
Washington, D.C.


section

イネス・モワテシエ夫人の肖像

Madame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier  begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, is now in the collection of the National Gallery in London, which acquired it in 1936.Madame Moitessier is also the title of a second portrait by Ingres, which depicts her standing; it was painted in 1851 and is now in the collection of the National Gallery of Art, Washington, D.C.

Prompt: イネス・モワテシエ夫人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。

Jean-Auguste-Dominique Ingres
London
National Gallery
National Gallery of Art
Washington, D.C.


section

イネス・モワテシエ夫人の肖像

Madame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier  begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, is now in the collection of the National Gallery in London, which acquired it in 1936.Madame Moitessier is also the title of a second portrait by Ingres, which depicts her standing; it was painted in 1851 and is now in the collection of the National Gallery of Art, Washington, D.C.

Prompt: イネス・モワテシエ夫人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。

Jean-Auguste-Dominique Ingres
London
National Gallery
National Gallery of Art
Washington, D.C.


section

イネス・モワテシエ夫人の肖像

Madame Moitessier is a portrait of Marie-Clotilde-Inès Moitessier  begun in 1844 and completed in 1856 by Jean-Auguste-Dominique Ingres. The portrait, which depicts Madame Moitessier seated, is now in the collection of the National Gallery in London, which acquired it in 1936.Madame Moitessier is also the title of a second portrait by Ingres, which depicts her standing; it was painted in 1851 and is now in the collection of the National Gallery of Art, Washington, D.C.

Prompt: イネス・モワテシエ夫人の肖像に関して、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。

Jean-Auguste-Dominique Ingres
London
National Gallery
National Gallery of Art
Washington, D.C.


section

イネス・モワテシエ夫人の肖像

Marie-Clotilde-Inès de Foucauld  was the daughter of a French civil servant in the department of forests and waterways. In 1842 she married a widower twice her age, the rich banker and lace merchant Sigisbert Moitessier, thus becoming Madame Moitessier. Art critic Théophile Gautier, who watched during some of the painting sessions, agreed with Ingres, describing her beauty as the most regal, magnificent, stately and Junoesque that he had ever seen drawn.

Prompt: イネス・モワテシエ夫人の肖像に焦点を当てて、その主語を説明してください。英語で出力して下さい。


section

イネス・モワテシエ夫人の肖像

Marie-Clotilde-Inès de Foucauld  was the daughter of a French civil servant in the department of forests and waterways. In 1842 she married a widower twice her age, the rich banker and lace merchant Sigisbert Moitessier, thus becoming Madame Moitessier. Art critic Théophile Gautier, who watched during some of the painting sessions, agreed with Ingres, describing her beauty as the most regal, magnificent, stately and Junoesque that he had ever seen drawn.

Prompt: イネス・モワテシエ夫人の肖像の主語を説明してください。英語で出力して下さい。


section

イネス・モワテシエ夫人の肖像

Marie-Clotilde-Inès de Foucauld  was the daughter of a French civil servant in the department of forests and waterways. In 1842 she married a widower twice her age, the rich banker and lace merchant Sigisbert Moitessier, thus becoming Madame Moitessier. Art critic Théophile Gautier, who watched during some of the painting sessions, agreed with Ingres, describing her beauty as the most regal, magnificent, stately and Junoesque that he had ever seen drawn.

Prompt: イネス・モワテシエ夫人の肖像はどのように主語を説明していますか？英語で出力して下さい。


section

イネス・モワテシエ夫人の肖像

Marie-Clotilde-Inès de Foucauld  was the daughter of a French civil servant in the department of forests and waterways. In 1842 she married a widower twice her age, the rich banker and lace merchant Sigisbert Moitessier, thus becoming Madame Moitessier. Art critic Théophile Gautier, who watched during some of the painting sessions, agreed with Ingres, describing her beauty as the most regal, magnificent, stately and Junoesque that he had ever seen drawn.

Prompt: イネス・モワテシエ夫人の肖像に関して、どのように主語が議論されていますか？英語で出力して下さい。


section

イネス・モワテシエ夫人の肖像

He began work on the seated version, depicting the subject in a floral dress. Work on the commission proceeded slowly.  The painting was originally to include the Moitessiers' daughter, Catherine; Ingres, finding little Catherine "impossible", eliminated her from the composition sometime around 1847. Work on the painting was suspended in 1849, when the death in June of Ingres' wife left him unable to work for several months, and Madame Moitessier was distracted by her second pregnancy and the death of her father. In June 1851, having been reminded by the woman he called "la belle et bonne"  that her portrait had still not been completed, Ingres began afresh, painting the standing portrait of her in a dark dress, which he finished in December 1851.Characteristically, Ingres found inspiration in the art of the past when painting Madame Moitessier. The pose with a hand touching the cheek was taken from a fresco of Hercules and Telephus from Herculaneum that he may have seen in Naples in 1814, and which was familiar to him through engravings.  According to the National Gallery, Titian's  Schiavona, also in the gallery, may have inspired the second profile view in the mirror.  She is wearing a dress of fashionable and expensive Lyon silk printed with a floral pattern, which is echoed by the flowers and leaves of the gilt frame. A similar frame was used for Ingres's 1853 portrait  of The Princesse de Broglie.Numerous drawn studies for both portraits exist. A study on canvas for the seated portrait, in which the figure has been drawn by Ingres and the background painted by an assistant, is in the Musée Ingres in Montauban.

Prompt: イネス・モワテシエ夫人の肖像に焦点を当てて、その二つの肖像画を説明してください。英語で出力して下さい。

Herculaneum
Hercules
Montauban
National Gallery
Telephus
The Princesse de Broglie
Titian


section

イネス・モワテシエ夫人の肖像

He began work on the seated version, depicting the subject in a floral dress. Work on the commission proceeded slowly.  The painting was originally to include the Moitessiers' daughter, Catherine; Ingres, finding little Catherine "impossible", eliminated her from the composition sometime around 1847. Work on the painting was suspended in 1849, when the death in June of Ingres' wife left him unable to work for several months, and Madame Moitessier was distracted by her second pregnancy and the death of her father. In June 1851, having been reminded by the woman he called "la belle et bonne"  that her portrait had still not been completed, Ingres began afresh, painting the standing portrait of her in a dark dress, which he finished in December 1851.Characteristically, Ingres found inspiration in the art of the past when painting Madame Moitessier. The pose with a hand touching the cheek was taken from a fresco of Hercules and Telephus from Herculaneum that he may have seen in Naples in 1814, and which was familiar to him through engravings.  According to the National Gallery, Titian's  Schiavona, also in the gallery, may have inspired the second profile view in the mirror.  She is wearing a dress of fashionable and expensive Lyon silk printed with a floral pattern, which is echoed by the flowers and leaves of the gilt frame. A similar frame was used for Ingres's 1853 portrait  of The Princesse de Broglie.Numerous drawn studies for both portraits exist. A study on canvas for the seated portrait, in which the figure has been drawn by Ingres and the background painted by an assistant, is in the Musée Ingres in Montauban.

Prompt: イネス・モワテシエ夫人の肖像の二つの肖像画を説明してください。英語で出力して下さい。

Herculaneum
Hercules
Montauban
National Gallery
Telephus
The Princesse de Broglie
Titian


section

イネス・モワテシエ夫人の肖像

He began work on the seated version, depicting the subject in a floral dress. Work on the commission proceeded slowly.  The painting was originally to include the Moitessiers' daughter, Catherine; Ingres, finding little Catherine "impossible", eliminated her from the composition sometime around 1847. Work on the painting was suspended in 1849, when the death in June of Ingres' wife left him unable to work for several months, and Madame Moitessier was distracted by her second pregnancy and the death of her father. In June 1851, having been reminded by the woman he called "la belle et bonne"  that her portrait had still not been completed, Ingres began afresh, painting the standing portrait of her in a dark dress, which he finished in December 1851.Characteristically, Ingres found inspiration in the art of the past when painting Madame Moitessier. The pose with a hand touching the cheek was taken from a fresco of Hercules and Telephus from Herculaneum that he may have seen in Naples in 1814, and which was familiar to him through engravings.  According to the National Gallery, Titian's  Schiavona, also in the gallery, may have inspired the second profile view in the mirror.  She is wearing a dress of fashionable and expensive Lyon silk printed with a floral pattern, which is echoed by the flowers and leaves of the gilt frame. A similar frame was used for Ingres's 1853 portrait  of The Princesse de Broglie.Numerous drawn studies for both portraits exist. A study on canvas for the seated portrait, in which the figure has been drawn by Ingres and the background painted by an assistant, is in the Musée Ingres in Montauban.

Prompt: イネス・モワテシエ夫人の肖像はどのように二つの肖像画を説明していますか？英語で出力して下さい。

Herculaneum
Hercules
Montauban
National Gallery
Telephus
The Princesse de Broglie
Titian


section

イネス・モワテシエ夫人の肖像

He began work on the seated version, depicting the subject in a floral dress. Work on the commission proceeded slowly.  The painting was originally to include the Moitessiers' daughter, Catherine; Ingres, finding little Catherine "impossible", eliminated her from the composition sometime around 1847. Work on the painting was suspended in 1849, when the death in June of Ingres' wife left him unable to work for several months, and Madame Moitessier was distracted by her second pregnancy and the death of her father. In June 1851, having been reminded by the woman he called "la belle et bonne"  that her portrait had still not been completed, Ingres began afresh, painting the standing portrait of her in a dark dress, which he finished in December 1851.Characteristically, Ingres found inspiration in the art of the past when painting Madame Moitessier. The pose with a hand touching the cheek was taken from a fresco of Hercules and Telephus from Herculaneum that he may have seen in Naples in 1814, and which was familiar to him through engravings.  According to the National Gallery, Titian's  Schiavona, also in the gallery, may have inspired the second profile view in the mirror.  She is wearing a dress of fashionable and expensive Lyon silk printed with a floral pattern, which is echoed by the flowers and leaves of the gilt frame. A similar frame was used for Ingres's 1853 portrait  of The Princesse de Broglie.Numerous drawn studies for both portraits exist. A study on canvas for the seated portrait, in which the figure has been drawn by Ingres and the background painted by an assistant, is in the Musée Ingres in Montauban.

Prompt: イネス・モワテシエ夫人の肖像に関して、どのように二つの肖像画が議論されていますか？英語で出力して下さい。

Herculaneum
Hercules
Montauban
National Gallery
Telephus
The Princesse de Broglie
Titian


section

イネス・モワテシエ夫人の肖像

Pablo Picasso first encountered the painting at an exhibition in Paris, in 1921. Over the next decade, he repeatedly referenced Ingres in his art, particularly in his homage in the painting Woman with a Book. The model for Woman with a Book, Picasso's then young mistress, Marie-Thérèse Walter, mimics Madame Moitessier’s pose. The painting was completed in August 1932. The painting is currently held by the Norton Simon Museum, in Pasadena, California, United States.The two paintings were exhibited together for the first time at a temporary exhibition organised in partnership with the Norton Simon Museum, held at the National Gallery in London, United Kingdom in 2022.

Prompt: イネス・モワテシエ夫人の肖像に焦点を当てて、その遺産を説明してください。英語で出力して下さい。

California
London
Marie-Thérèse Walter
National Gallery
Norton Simon Museum
Pablo Picasso
Paris
Pasadena, California
United Kingdom
United States


section

イネス・モワテシエ夫人の肖像

Pablo Picasso first encountered the painting at an exhibition in Paris, in 1921. Over the next decade, he repeatedly referenced Ingres in his art, particularly in his homage in the painting Woman with a Book. The model for Woman with a Book, Picasso's then young mistress, Marie-Thérèse Walter, mimics Madame Moitessier’s pose. The painting was completed in August 1932. The painting is currently held by the Norton Simon Museum, in Pasadena, California, United States.The two paintings were exhibited together for the first time at a temporary exhibition organised in partnership with the Norton Simon Museum, held at the National Gallery in London, United Kingdom in 2022.

Prompt: イネス・モワテシエ夫人の肖像の遺産を説明してください。英語で出力して下さい。

California
London
Marie-Thérèse Walter
National Gallery
Norton Simon Museum
Pablo Picasso
Paris
Pasadena, California
United Kingdom
United States


section

イネス・モワテシエ夫人の肖像

Pablo Picasso first encountered the painting at an exhibition in Paris, in 1921. Over the next decade, he repeatedly referenced Ingres in his art, particularly in his homage in the painting Woman with a Book. The model for Woman with a Book, Picasso's then young mistress, Marie-Thérèse Walter, mimics Madame Moitessier’s pose. The painting was completed in August 1932. The painting is currently held by the Norton Simon Museum, in Pasadena, California, United States.The two paintings were exhibited together for the first time at a temporary exhibition organised in partnership with the Norton Simon Museum, held at the National Gallery in London, United Kingdom in 2022.

Prompt: イネス・モワテシエ夫人の肖像はどのように遺産を説明していますか？英語で出力して下さい。

California
London
Marie-Thérèse Walter
National Gallery
Norton Simon Museum
Pablo Picasso
Paris
Pasadena, California
United Kingdom
United States


section

イネス・モワテシエ夫人の肖像

Pablo Picasso first encountered the painting at an exhibition in Paris, in 1921. Over the next decade, he repeatedly referenced Ingres in his art, particularly in his homage in the painting Woman with a Book. The model for Woman with a Book, Picasso's then young mistress, Marie-Thérèse Walter, mimics Madame Moitessier’s pose. The painting was completed in August 1932. The painting is currently held by the Norton Simon Museum, in Pasadena, California, United States.The two paintings were exhibited together for the first time at a temporary exhibition organised in partnership with the Norton Simon Museum, held at the National Gallery in London, United Kingdom in 2022.

Prompt: イネス・モワテシエ夫人の肖像に関して、どのように遺産が議論されていますか？英語で出力して下さい。

California
London
Marie-Thérèse Walter
National Gallery
Norton Simon Museum
Pablo Picasso
Paris
Pasadena, California
United Kingdom
United States


section

イネス・モワテシエ夫人の肖像

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: イネス・モワテシエ夫人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。


section

イネス・モワテシエ夫人の肖像

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: イネス・モワテシエ夫人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。


section

イネス・モワテシエ夫人の肖像

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: イネス・モワテシエ夫人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。


section

イネス・モワテシエ夫人の肖像

List of paintings by Jean-Auguste-Dominique Ingres

Prompt: イネス・モワテシエ夫人の肖像に関して、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。


section

イネス・モワテシエ夫人の肖像

Ribeiro, Aileen . Ingres in Fashion: Representations of Dress and Appearance in Ingres's Images of Women. New Haven and London: Yale University Press. Tinterow, Gary; Conisbee, Philip; Naef, Hans . Portraits by Ingres: Image of an Epoch. New York: Harry N. Abrams, Inc.

Prompt: イネス・モワテシエ夫人の肖像に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

イネス・モワテシエ夫人の肖像

Ribeiro, Aileen . Ingres in Fashion: Representations of Dress and Appearance in Ingres's Images of Women. New Haven and London: Yale University Press. Tinterow, Gary; Conisbee, Philip; Naef, Hans . Portraits by Ingres: Image of an Epoch. New York: Harry N. Abrams, Inc.

Prompt: イネス・モワテシエ夫人の肖像の参考文献を説明してください。英語で出力して下さい。


section

イネス・モワテシエ夫人の肖像

Ribeiro, Aileen . Ingres in Fashion: Representations of Dress and Appearance in Ingres's Images of Women. New Haven and London: Yale University Press. Tinterow, Gary; Conisbee, Philip; Naef, Hans . Portraits by Ingres: Image of an Epoch. New York: Harry N. Abrams, Inc.

Prompt: イネス・モワテシエ夫人の肖像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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イネス・モワテシエ夫人の肖像

Ribeiro, Aileen . Ingres in Fashion: Representations of Dress and Appearance in Ingres's Images of Women. New Haven and London: Yale University Press. Tinterow, Gary; Conisbee, Philip; Naef, Hans . Portraits by Ingres: Image of an Epoch. New York: Harry N. Abrams, Inc.

Prompt: イネス・モワテシエ夫人の肖像に関して、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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ラ・スキアヴォーナ

</ref> medium             = Oil on canvas height_metric      = 119.4 width_metric       = 96.5 city               = London museum             = National Gallery}} Schiavona , also known as Portrait of a dy, is a 1510–1512 portrait by Titian of an unknown woman.

Prompt: ラ・スキアヴォーナに焦点を当てて、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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ラ・スキアヴォーナ

</ref> medium             = Oil on canvas height_metric      = 119.4 width_metric       = 96.5 city               = London museum             = National Gallery}} Schiavona , also known as Portrait of a dy, is a 1510–1512 portrait by Titian of an unknown woman.

Prompt: ラ・スキアヴォーナの抽象を説明してください。英語で出力して下さい。


section

ラ・スキアヴォーナ

</ref> medium             = Oil on canvas height_metric      = 119.4 width_metric       = 96.5 city               = London museum             = National Gallery}} Schiavona , also known as Portrait of a dy, is a 1510–1512 portrait by Titian of an unknown woman.

Prompt: ラ・スキアヴォーナはどのように抽象を説明していますか？英語で出力して下さい。


section

ラ・スキアヴォーナ

</ref> medium             = Oil on canvas height_metric      = 119.4 width_metric       = 96.5 city               = London museum             = National Gallery}} Schiavona , also known as Portrait of a dy, is a 1510–1512 portrait by Titian of an unknown woman.

Prompt: ラ・スキアヴォーナに関して、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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ラ・スキアヴォーナ

The painting was being referred to as  Schiavona before the beginning of the seventeenth century. However, this name is traditional, given to the painting by someone in recognition of the style of her dress and her physiognomy. In reality, the lady portrayed would have been part of the nobility of the time, with a costume compatible with that of the wealthy women of the territories controlled by the Republic of Venice. Some people have tried to identify the woman as Catherine Cornaro, a hypothesis without any confirmation. Previously assigned to Giorgione, the painting is today commonly accepted as a youthful masterpiece by Titian; further evidence is provided by the absence of the modulated sweetness of the painter from Castelfranco Veneto, replaced rather by a pulsating vitality. There are also close similarities with the woman protagonist of the Miracolo del neonato, a Paduan fresco by Titian dating back to 1511.

Prompt: ラ・スキアヴォーナに焦点を当てて、その座っている人の身元を説明してください。英語で出力して下さい。

Castelfranco Veneto
Catherine Cornaro
Giorgione
Republic of Venice
Titian


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ラ・スキアヴォーナ

The painting was being referred to as  Schiavona before the beginning of the seventeenth century. However, this name is traditional, given to the painting by someone in recognition of the style of her dress and her physiognomy. In reality, the lady portrayed would have been part of the nobility of the time, with a costume compatible with that of the wealthy women of the territories controlled by the Republic of Venice. Some people have tried to identify the woman as Catherine Cornaro, a hypothesis without any confirmation. Previously assigned to Giorgione, the painting is today commonly accepted as a youthful masterpiece by Titian; further evidence is provided by the absence of the modulated sweetness of the painter from Castelfranco Veneto, replaced rather by a pulsating vitality. There are also close similarities with the woman protagonist of the Miracolo del neonato, a Paduan fresco by Titian dating back to 1511.

Prompt: ラ・スキアヴォーナの座っている人の身元を説明してください。英語で出力して下さい。

Castelfranco Veneto
Catherine Cornaro
Giorgione
Republic of Venice
Titian


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ラ・スキアヴォーナ

The painting was being referred to as  Schiavona before the beginning of the seventeenth century. However, this name is traditional, given to the painting by someone in recognition of the style of her dress and her physiognomy. In reality, the lady portrayed would have been part of the nobility of the time, with a costume compatible with that of the wealthy women of the territories controlled by the Republic of Venice. Some people have tried to identify the woman as Catherine Cornaro, a hypothesis without any confirmation. Previously assigned to Giorgione, the painting is today commonly accepted as a youthful masterpiece by Titian; further evidence is provided by the absence of the modulated sweetness of the painter from Castelfranco Veneto, replaced rather by a pulsating vitality. There are also close similarities with the woman protagonist of the Miracolo del neonato, a Paduan fresco by Titian dating back to 1511.

Prompt: ラ・スキアヴォーナはどのように座っている人の身元を説明していますか？英語で出力して下さい。

Castelfranco Veneto
Catherine Cornaro
Giorgione
Republic of Venice
Titian


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ラ・スキアヴォーナ

The painting was being referred to as  Schiavona before the beginning of the seventeenth century. However, this name is traditional, given to the painting by someone in recognition of the style of her dress and her physiognomy. In reality, the lady portrayed would have been part of the nobility of the time, with a costume compatible with that of the wealthy women of the territories controlled by the Republic of Venice. Some people have tried to identify the woman as Catherine Cornaro, a hypothesis without any confirmation. Previously assigned to Giorgione, the painting is today commonly accepted as a youthful masterpiece by Titian; further evidence is provided by the absence of the modulated sweetness of the painter from Castelfranco Veneto, replaced rather by a pulsating vitality. There are also close similarities with the woman protagonist of the Miracolo del neonato, a Paduan fresco by Titian dating back to 1511.

Prompt: ラ・スキアヴォーナに関して、どのように座っている人の身元が議論されていますか？英語で出力して下さい。

Castelfranco Veneto
Catherine Cornaro
Giorgione
Republic of Venice
Titian


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ラ・スキアヴォーナ

The subject is shown three-quarter length against a plain grey background. Her curvaceous form is portrayed with exceptional realism and accuracy, and is accentuated by the wide drapery of her earth-coloured dress. The body is rotated slightly, while the head looks frontally at the viewer, in a pose of remarkable naturalness and ease. What appears to be the same woman is seen in relief  on a raised section of the parapet. The lower part of the parapet is original, though the raised section appears to be a revision by Titian himself, with the drapery painted under it still being visible through subsequent layers of paint. The painting is signed TV on the parapet, which probably stands for Tiziano Vecellio.

Prompt: ラ・スキアヴォーナに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

ラ・スキアヴォーナ

The subject is shown three-quarter length against a plain grey background. Her curvaceous form is portrayed with exceptional realism and accuracy, and is accentuated by the wide drapery of her earth-coloured dress. The body is rotated slightly, while the head looks frontally at the viewer, in a pose of remarkable naturalness and ease. What appears to be the same woman is seen in relief  on a raised section of the parapet. The lower part of the parapet is original, though the raised section appears to be a revision by Titian himself, with the drapery painted under it still being visible through subsequent layers of paint. The painting is signed TV on the parapet, which probably stands for Tiziano Vecellio.

Prompt: ラ・スキアヴォーナの説明を説明してください。英語で出力して下さい。


section

ラ・スキアヴォーナ

The subject is shown three-quarter length against a plain grey background. Her curvaceous form is portrayed with exceptional realism and accuracy, and is accentuated by the wide drapery of her earth-coloured dress. The body is rotated slightly, while the head looks frontally at the viewer, in a pose of remarkable naturalness and ease. What appears to be the same woman is seen in relief  on a raised section of the parapet. The lower part of the parapet is original, though the raised section appears to be a revision by Titian himself, with the drapery painted under it still being visible through subsequent layers of paint. The painting is signed TV on the parapet, which probably stands for Tiziano Vecellio.

Prompt: ラ・スキアヴォーナはどのように説明を説明していますか？英語で出力して下さい。


section

ラ・スキアヴォーナ

The subject is shown three-quarter length against a plain grey background. Her curvaceous form is portrayed with exceptional realism and accuracy, and is accentuated by the wide drapery of her earth-coloured dress. The body is rotated slightly, while the head looks frontally at the viewer, in a pose of remarkable naturalness and ease. What appears to be the same woman is seen in relief  on a raised section of the parapet. The lower part of the parapet is original, though the raised section appears to be a revision by Titian himself, with the drapery painted under it still being visible through subsequent layers of paint. The painting is signed TV on the parapet, which probably stands for Tiziano Vecellio.

Prompt: ラ・スキアヴォーナに関して、どのように説明が議論されていますか？英語で出力して下さい。


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ラ・スキアヴォーナ

The portrait was presented to the National Gallery in London in 1942 by Sir Francis Cook, Bt, in memory of his father Herbert, via the Art Fund – it is still in the Gallery's collection, as NG5385.

Prompt: ラ・スキアヴォーナに焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

ラ・スキアヴォーナ

The portrait was presented to the National Gallery in London in 1942 by Sir Francis Cook, Bt, in memory of his father Herbert, via the Art Fund – it is still in the Gallery's collection, as NG5385.

Prompt: ラ・スキアヴォーナの歴史を説明してください。英語で出力して下さい。


section

ラ・スキアヴォーナ

The portrait was presented to the National Gallery in London in 1942 by Sir Francis Cook, Bt, in memory of his father Herbert, via the Art Fund – it is still in the Gallery's collection, as NG5385.

Prompt: ラ・スキアヴォーナ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

ラ・スキアヴォーナ

The portrait was presented to the National Gallery in London in 1942 by Sir Francis Cook, Bt, in memory of his father Herbert, via the Art Fund – it is still in the Gallery's collection, as NG5385.

Prompt: ラ・スキアヴォーナに関して、どのように歴史が議論されていますか？英語で出力して下さい。


section

ラ・スキアヴォーナ

Prompt: ラ・スキアヴォーナに焦点を当てて、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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ラ・スキアヴォーナ

Prompt: ラ・スキアヴォーナの参照を説明してください。英語で出力して下さい。


section

ラ・スキアヴォーナ

Prompt: ラ・スキアヴォーナ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

ラ・スキアヴォーナ

Prompt: ラ・スキアヴォーナに関して、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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ラ・スキアヴォーナ

Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969.

Prompt: ラ・スキアヴォーナに焦点を当てて、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。


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ラ・スキアヴォーナ

Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969.

Prompt: ラ・スキアヴォーナ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

ラ・スキアヴォーナ

Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969.

Prompt: ラ・スキアヴォーナ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

ラ・スキアヴォーナ

Francesco Valcanover, L'opera completa di Tiziano, Rizzoli, Milano 1969.

Prompt: ラ・スキアヴォーナに関して、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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松林の朝

The Morning in a Pine Forest , formerly The Bear Family in the Forest</ref>}} , is a painting by Russian artists Ivan Shishkin and Konstantin Savitsky. The bears were painted by Savitsky, but the art collector Pavel Tretyakov effaced his signature, stating that "from idea to performance, everything discloses the painting manner and creative method peculiar just to Shishkin", so the painting is now sometimes credited solely to Shishkin.The Morning in a Pine Forest became very popular, being reproduced on various items, including the "Clumsy Bear" chocolates by Krasny Oktyabr. According to one poll, the painting is the second most popular in Russia behind Bogatyrs by Viktor Vasnetsov. Shishkin's similar paintings are the Forest in Spring  and The Sestroretsk Forest .It is believed that Shishkin painted the pine trees near Gorodomlya Island, which is located on ke Seliger.

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

Bogatyr
Gorodomlya Island
Ivan Shishkin
Konstantin Savitsky
Pavel Tretyakov
Viktor Vasnetsov


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松林の朝

The Morning in a Pine Forest , formerly The Bear Family in the Forest</ref>}} , is a painting by Russian artists Ivan Shishkin and Konstantin Savitsky. The bears were painted by Savitsky, but the art collector Pavel Tretyakov effaced his signature, stating that "from idea to performance, everything discloses the painting manner and creative method peculiar just to Shishkin", so the painting is now sometimes credited solely to Shishkin.The Morning in a Pine Forest became very popular, being reproduced on various items, including the "Clumsy Bear" chocolates by Krasny Oktyabr. According to one poll, the painting is the second most popular in Russia behind Bogatyrs by Viktor Vasnetsov. Shishkin's similar paintings are the Forest in Spring  and The Sestroretsk Forest .It is believed that Shishkin painted the pine trees near Gorodomlya Island, which is located on ke Seliger.

Prompt: 松林の朝の抽象を説明してください。英語で出力して下さい。

Bogatyr
Gorodomlya Island
Ivan Shishkin
Konstantin Savitsky
Pavel Tretyakov
Viktor Vasnetsov


section

松林の朝

The Morning in a Pine Forest , formerly The Bear Family in the Forest</ref>}} , is a painting by Russian artists Ivan Shishkin and Konstantin Savitsky. The bears were painted by Savitsky, but the art collector Pavel Tretyakov effaced his signature, stating that "from idea to performance, everything discloses the painting manner and creative method peculiar just to Shishkin", so the painting is now sometimes credited solely to Shishkin.The Morning in a Pine Forest became very popular, being reproduced on various items, including the "Clumsy Bear" chocolates by Krasny Oktyabr. According to one poll, the painting is the second most popular in Russia behind Bogatyrs by Viktor Vasnetsov. Shishkin's similar paintings are the Forest in Spring  and The Sestroretsk Forest .It is believed that Shishkin painted the pine trees near Gorodomlya Island, which is located on ke Seliger.

Prompt: 松林の朝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。

Bogatyr
Gorodomlya Island
Ivan Shishkin
Konstantin Savitsky
Pavel Tretyakov
Viktor Vasnetsov


section

松林の朝

The Morning in a Pine Forest , formerly The Bear Family in the Forest</ref>}} , is a painting by Russian artists Ivan Shishkin and Konstantin Savitsky. The bears were painted by Savitsky, but the art collector Pavel Tretyakov effaced his signature, stating that "from idea to performance, everything discloses the painting manner and creative method peculiar just to Shishkin", so the painting is now sometimes credited solely to Shishkin.The Morning in a Pine Forest became very popular, being reproduced on various items, including the "Clumsy Bear" chocolates by Krasny Oktyabr. According to one poll, the painting is the second most popular in Russia behind Bogatyrs by Viktor Vasnetsov. Shishkin's similar paintings are the Forest in Spring  and The Sestroretsk Forest .It is believed that Shishkin painted the pine trees near Gorodomlya Island, which is located on ke Seliger.

Prompt: 松林の朝に関して、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。

Bogatyr
Gorodomlya Island
Ivan Shishkin
Konstantin Savitsky
Pavel Tretyakov
Viktor Vasnetsov


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松林の朝

source=The Artist, 1894, March, No. 35, p. 132}}

Prompt: 松林の朝に焦点を当てて、そのフィードバックを説明してください。英語で出力して下さい。


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松林の朝

source=The Artist, 1894, March, No. 35, p. 132}}

Prompt: 松林の朝のフィードバックを説明してください。英語で出力して下さい。


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松林の朝

source=The Artist, 1894, March, No. 35, p. 132}}

Prompt: 松林の朝はどのようにフィードバックを説明していますか？英語で出力して下さい。


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松林の朝

source=The Artist, 1894, March, No. 35, p. 132}}

Prompt: 松林の朝に関して、どのようにフィードバッ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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松林の朝

Category:Bears in artCategory:ndscape paintingsCategory:Russian paintingsCategory:1889 paintingsCategory:Collections of the Tretyakov Gallery

Prompt: 松林の朝に焦点を当てて、その注釈, 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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松林の朝

Category:Bears in artCategory:ndscape paintingsCategory:Russian paintingsCategory:1889 paintingsCategory:Collections of the Tretyakov Gallery

Prompt: 松林の朝の注釈, 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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松林の朝

Category:Bears in artCategory:ndscape paintingsCategory:Russian paintingsCategory:1889 paintingsCategory:Collections of the Tretyakov Gallery

Prompt: 松林の朝はどのように注釈, 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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松林の朝

Category:Bears in artCategory:ndscape paintingsCategory:Russian paintingsCategory:1889 paintingsCategory:Collections of the Tretyakov Gallery

Prompt: 松林の朝に関して、どのように注釈, 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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皇太子バルタサール・カルロス騎馬像

The Equestrian Portrait of Prince Balthasar Charles is a portrait of Balthasar Charles, Prince of Asturias on horseback, painted in 1634–35 by Diego Velázquez. It is now in the Prado.Velázquez was commissioned to paint a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. This work was meant to fill the gap between two larger equestrian portraits of the prince's parents, Philip IV and Elisabeth of France.Art historian Andrew Graham Dixon describes the subject as a "little boy on this plump horse, underneath a lowering sky full of dark clouds. The child looks lost." According to Simona Di Nepi, the young prince's calm demeanor while seated on a rearing horse has a political significance, representing him as a confident horseman and a strong leader. His authority is symbolized by the baton he holds, the sword he wears, and the military sash on his chest.

Prompt: 皇太子バルタサール・カルロス騎馬像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Balthasar Charles, Prince of Asturias
Buen Retiro Palace
Diego Velázquez
Hall of Realms
Madrid
Portrait


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皇太子バルタサール・カルロス騎馬像

The Equestrian Portrait of Prince Balthasar Charles is a portrait of Balthasar Charles, Prince of Asturias on horseback, painted in 1634–35 by Diego Velázquez. It is now in the Prado.Velázquez was commissioned to paint a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. This work was meant to fill the gap between two larger equestrian portraits of the prince's parents, Philip IV and Elisabeth of France.Art historian Andrew Graham Dixon describes the subject as a "little boy on this plump horse, underneath a lowering sky full of dark clouds. The child looks lost." According to Simona Di Nepi, the young prince's calm demeanor while seated on a rearing horse has a political significance, representing him as a confident horseman and a strong leader. His authority is symbolized by the baton he holds, the sword he wears, and the military sash on his chest.

Prompt: 皇太子バルタサール・カルロス騎馬像の抽象を説明してください。英語で出力して下さい。

Balthasar Charles, Prince of Asturias
Buen Retiro Palace
Diego Velázquez
Hall of Realms
Madrid
Portrait


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皇太子バルタサール・カルロス騎馬像

The Equestrian Portrait of Prince Balthasar Charles is a portrait of Balthasar Charles, Prince of Asturias on horseback, painted in 1634–35 by Diego Velázquez. It is now in the Prado.Velázquez was commissioned to paint a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. This work was meant to fill the gap between two larger equestrian portraits of the prince's parents, Philip IV and Elisabeth of France.Art historian Andrew Graham Dixon describes the subject as a "little boy on this plump horse, underneath a lowering sky full of dark clouds. The child looks lost." According to Simona Di Nepi, the young prince's calm demeanor while seated on a rearing horse has a political significance, representing him as a confident horseman and a strong leader. His authority is symbolized by the baton he holds, the sword he wears, and the military sash on his chest.

Prompt: 皇太子バルタサール・カルロス騎馬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。

Balthasar Charles, Prince of Asturias
Buen Retiro Palace
Diego Velázquez
Hall of Realms
Madrid
Portrait


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皇太子バルタサール・カルロス騎馬像

The Equestrian Portrait of Prince Balthasar Charles is a portrait of Balthasar Charles, Prince of Asturias on horseback, painted in 1634–35 by Diego Velázquez. It is now in the Prado.Velázquez was commissioned to paint a series of equestrian portraits for the Hall of Realms, originally a wing of the Buen Retiro Palace in Madrid. This work was meant to fill the gap between two larger equestrian portraits of the prince's parents, Philip IV and Elisabeth of France.Art historian Andrew Graham Dixon describes the subject as a "little boy on this plump horse, underneath a lowering sky full of dark clouds. The child looks lost." According to Simona Di Nepi, the young prince's calm demeanor while seated on a rearing horse has a political significance, representing him as a confident horseman and a strong leader. His authority is symbolized by the baton he holds, the sword he wears, and the military sash on his chest.

Prompt: 皇太子バルタサール・カルロス騎馬像に関して、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。

Balthasar Charles, Prince of Asturias
Buen Retiro Palace
Diego Velázquez
Hall of Realms
Madrid
Portrait


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皇太子バルタサール・カルロス騎馬像

Equestrian Portrait of Prince Balthasar Charles

Prompt: 皇太子バルタサール・カルロス騎馬像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


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皇太子バルタサール・カルロス騎馬像

Equestrian Portrait of Prince Balthasar Charles

Prompt: 皇太子バルタサール・カルロス騎馬像の参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


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皇太子バルタサール・カルロス騎馬像

Equestrian Portrait of Prince Balthasar Charles

Prompt: 皇太子バルタサール・カルロス騎馬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。

Diego Velázquez
List of works by Diego Velázquez


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皇太子バルタサール・カルロス騎馬像

Equestrian Portrait of Prince Balthasar Charles

Prompt: 皇太子バルタサール・カルロス騎馬像に関して、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。

Diego Velázquez
List of works by Diego Velázquez


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バリェーカスの少年

Portrait of Francisco Lezcano or The "Niño de Vallecas" is the 1645 portrait by Diego Velázquez of Francisco Lezcano , also known as Lezcanillo or el Vizcaíno, a jester at the court of Philip IV of Spain. It has been in the Prado since 1819.The mountains round Madrid can be seen in the right background, whilst the subject holds cards in his hands. The painting is part of a series of paintings of jesters at the court, and this one was possibly painted whilst the subject was accompanying the king on a hunt, since he is shown in hunting attire in the open air. It was produced for display in the Torre de la Parada .On 28 July 1714 it was moved to the Palacio del Pardo, before appearing in 1772 at the home of infante Javier in the new Palacio Real in Madrid. In 1794 it was in the "Pieza de Trucos" of the same palace, at which time it gained its alternative name of Niño de Vallecas.

Prompt: バリェーカスの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。

Diego Velázquez
Madrid
Philip IV of Spain
Torre de la Parada


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バリェーカスの少年

Portrait of Francisco Lezcano or The "Niño de Vallecas" is the 1645 portrait by Diego Velázquez of Francisco Lezcano , also known as Lezcanillo or el Vizcaíno, a jester at the court of Philip IV of Spain. It has been in the Prado since 1819.The mountains round Madrid can be seen in the right background, whilst the subject holds cards in his hands. The painting is part of a series of paintings of jesters at the court, and this one was possibly painted whilst the subject was accompanying the king on a hunt, since he is shown in hunting attire in the open air. It was produced for display in the Torre de la Parada .On 28 July 1714 it was moved to the Palacio del Pardo, before appearing in 1772 at the home of infante Javier in the new Palacio Real in Madrid. In 1794 it was in the "Pieza de Trucos" of the same palace, at which time it gained its alternative name of Niño de Vallecas.

Prompt: バリェーカスの少年の抽象を説明してください。英語で出力して下さい。

Diego Velázquez
Madrid
Philip IV of Spain
Torre de la Parada


section

バリェーカスの少年

Portrait of Francisco Lezcano or The "Niño de Vallecas" is the 1645 portrait by Diego Velázquez of Francisco Lezcano , also known as Lezcanillo or el Vizcaíno, a jester at the court of Philip IV of Spain. It has been in the Prado since 1819.The mountains round Madrid can be seen in the right background, whilst the subject holds cards in his hands. The painting is part of a series of paintings of jesters at the court, and this one was possibly painted whilst the subject was accompanying the king on a hunt, since he is shown in hunting attire in the open air. It was produced for display in the Torre de la Parada .On 28 July 1714 it was moved to the Palacio del Pardo, before appearing in 1772 at the home of infante Javier in the new Palacio Real in Madrid. In 1794 it was in the "Pieza de Trucos" of the same palace, at which time it gained its alternative name of Niño de Vallecas.

Prompt: バリェーカスの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。

Diego Velázquez
Madrid
Philip IV of Spain
Torre de la Parada