subsection

アビニヨンの娘たち

Maurice Princet, a French mathematician and actuary, played a role in the birth of Cubism as an associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, Robert Delaunay, Juan Gris and later Marcel Duchamp. Princet became known as "le mathématicien du cubisme" .Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to artists at the Bateau-voir. Princet brought to the attention of Picasso, Metzinger and others, a book by Esprit Jouffret, Traité élémentaire de géométrie à quatre dimensions , a popularization of Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional surface. Picasso's sketchbooks for  illustrate Jouffret's influence on the artist's work.

Prompt: アビニヨンの娘たちの文脈で、数学と影響を説明してください。英語で出力して下さい。

Cubism
Cubism
Esprit Jouffret
Guillaume Apollinaire
Henri Poincaré
Jean Metzinger
Juan Gris
Marcel Duchamp


subsection

アビニヨンの娘たち

Maurice Princet, a French mathematician and actuary, played a role in the birth of Cubism as an associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, Robert Delaunay, Juan Gris and later Marcel Duchamp. Princet became known as "le mathématicien du cubisme" .Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to artists at the Bateau-voir. Princet brought to the attention of Picasso, Metzinger and others, a book by Esprit Jouffret, Traité élémentaire de géométrie à quatre dimensions , a popularization of Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional surface. Picasso's sketchbooks for  illustrate Jouffret's influence on the artist's work.

Prompt: アビニヨンの娘たちの影響に関する数学を説明してください。英語で出力して下さい。

Cubism
Cubism
Esprit Jouffret
Guillaume Apollinaire
Henri Poincaré
Jean Metzinger
Juan Gris
Marcel Duchamp


subsection

アビニヨンの娘たち

Maurice Princet, a French mathematician and actuary, played a role in the birth of Cubism as an associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, Robert Delaunay, Juan Gris and later Marcel Duchamp. Princet became known as "le mathématicien du cubisme" .Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to artists at the Bateau-voir. Princet brought to the attention of Picasso, Metzinger and others, a book by Esprit Jouffret, Traité élémentaire de géométrie à quatre dimensions , a popularization of Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional surface. Picasso's sketchbooks for  illustrate Jouffret's influence on the artist's work.

Prompt: アビニヨンの娘たちでは、どのように影響の数学が説明されていますか？英語で出力して下さい。

Cubism
Cubism
Esprit Jouffret
Guillaume Apollinaire
Henri Poincaré
Jean Metzinger
Juan Gris
Marcel Duchamp


subsection

アビニヨンの娘たち

Maurice Princet, a French mathematician and actuary, played a role in the birth of Cubism as an associate of Pablo Picasso, Guillaume Apollinaire, Max Jacob, Jean Metzinger, Robert Delaunay, Juan Gris and later Marcel Duchamp. Princet became known as "le mathématicien du cubisme" .Princet is credited with introducing the work of Henri Poincaré and the concept of the "fourth dimension" to artists at the Bateau-voir. Princet brought to the attention of Picasso, Metzinger and others, a book by Esprit Jouffret, Traité élémentaire de géométrie à quatre dimensions , a popularization of Poincaré's Science and Hypothesis in which Jouffret described hypercubes and other complex polyhedra in four dimensions and projected them onto the two-dimensional surface. Picasso's sketchbooks for  illustrate Jouffret's influence on the artist's work.

Prompt: アビニヨンの娘たちの影響における数学の特徴を説明してください。英語で出力して下さい。

Cubism
Cubism
Esprit Jouffret
Guillaume Apollinaire
Henri Poincaré
Jean Metzinger
Juan Gris
Marcel Duchamp


section

裸のマハ

The Naked Maja or The Nude Maja  is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as  maja vestida , also in the Prado, and usually hung next to  maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in  maja vestida.The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations . With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

Prompt: 裸のマハに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

裸のマハ

The Naked Maja or The Nude Maja  is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as  maja vestida , also in the Prado, and usually hung next to  maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in  maja vestida.The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations . With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

Prompt: 裸のマハの抽象を説明してください。英語で出力して下さい。


section

裸のマハ

The Naked Maja or The Nude Maja  is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as  maja vestida , also in the Prado, and usually hung next to  maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in  maja vestida.The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations . With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

Prompt: 裸のマハ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

裸のマハ

The Naked Maja or The Nude Maja  is an oil-on-canvas painting made around 1797–1800 by the Spanish artist Francisco de Goya, and is now in the Museo del Prado in Madrid. It portrays a nude woman reclining on a bed of pillows, and was probably commissioned by Manuel de Godoy, to hang in his private collection in a separate cabinet reserved for nude paintings. Goya created a pendant of the same woman identically posed, but clothed, known today as  maja vestida , also in the Prado, and usually hung next to  maja desnuda. The subject is identified as a maja or fashionable lower-class Madrid woman, based on her costume in  maja vestida.The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations . With this work Goya not only upset the ecclesiastical authorities, but also titillated the public and extended the artistic horizon of the day. It has been in the Museo del Prado in Madrid since 1901.

Prompt: 裸のマハに関して、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

裸のマハ

Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the  pictorial space; according to art historian Janis Tomlinson she seems almost to "press boldly against the confines of her frame", making her more brazen in comparison to the comparatively "timid" nude portrait.The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. Further, the accompanying pendant showing a woman in contemporary dress makes it clear that the focus of the work is not of a mythological subject, as in Velázquez's Rokeby Venus, but in fact of a nude Spanish woman. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on.

Prompt: 裸のマハに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

裸のマハ

Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the  pictorial space; according to art historian Janis Tomlinson she seems almost to "press boldly against the confines of her frame", making her more brazen in comparison to the comparatively "timid" nude portrait.The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. Further, the accompanying pendant showing a woman in contemporary dress makes it clear that the focus of the work is not of a mythological subject, as in Velázquez's Rokeby Venus, but in fact of a nude Spanish woman. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on.

Prompt: 裸のマハの説明を説明してください。英語で出力して下さい。


section

裸のマハ

Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the  pictorial space; according to art historian Janis Tomlinson she seems almost to "press boldly against the confines of her frame", making her more brazen in comparison to the comparatively "timid" nude portrait.The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. Further, the accompanying pendant showing a woman in contemporary dress makes it clear that the focus of the work is not of a mythological subject, as in Velázquez's Rokeby Venus, but in fact of a nude Spanish woman. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on.

Prompt: 裸のマハ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

裸のマハ

Although the two versions of the Maja are the same size, the sitter in the clothed version occupies a slightly larger proportion of the  pictorial space; according to art historian Janis Tomlinson she seems almost to "press boldly against the confines of her frame", making her more brazen in comparison to the comparatively "timid" nude portrait.The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze. Further, the accompanying pendant showing a woman in contemporary dress makes it clear that the focus of the work is not of a mythological subject, as in Velázquez's Rokeby Venus, but in fact of a nude Spanish woman. Goya's figuration is short and angular, while Velázquez's is elongated and curved, and his figure placed on richly coloured satin, which starkly contrasts to the bare white cloths Goya's maja rests on.

Prompt: 裸のマハに関して、どのように説明が議論されていますか？英語で出力して下さい。


section

裸のマハ

upright=1The identity of the model and why the paintings were created are today unknown. Both paintings are first recorded in an inventory of "unpopular and unsuccessful art" by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung in a private room reserved for nude paintings, alongside such works as Velázquez's Rokeby Venus. As Godoy had only been found in possession of the painting, Goya was asked to identify why "he did them", and also "at whose request, and what attention guided him." His answers do not survive, but it is known that the Director of Confiscations accepted that Goya had followed and emulated Titian's Danaë series and Velázquez's Rokeby Venus; two painters whose works, including their nudes, were admired by the court and church, and the Inquisition had previously found nothing objectionable in the Rokeby Venus.Goya escaped prosecution when the tribunal accepted that he was following in a tradition, and emulating a Velázquez painting which had been favoured by Philip IV of Spain. The earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, "the room where His Majesty retires after eating." In fact, the Inquisition by 1808 was nearing the end of its influence, and while it could draw attention to "dangerous" forms of expression, be they books, plays, or paintings, it was usually unable to fully suppress them.

Prompt: 裸のマハに焦点を当てて、その宗教裁判を説明してください。英語で出力して下さい。

Alcúdia
Philip IV of Spain
Rokeby Venus
Titian


section

裸のマハ

upright=1The identity of the model and why the paintings were created are today unknown. Both paintings are first recorded in an inventory of "unpopular and unsuccessful art" by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung in a private room reserved for nude paintings, alongside such works as Velázquez's Rokeby Venus. As Godoy had only been found in possession of the painting, Goya was asked to identify why "he did them", and also "at whose request, and what attention guided him." His answers do not survive, but it is known that the Director of Confiscations accepted that Goya had followed and emulated Titian's Danaë series and Velázquez's Rokeby Venus; two painters whose works, including their nudes, were admired by the court and church, and the Inquisition had previously found nothing objectionable in the Rokeby Venus.Goya escaped prosecution when the tribunal accepted that he was following in a tradition, and emulating a Velázquez painting which had been favoured by Philip IV of Spain. The earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, "the room where His Majesty retires after eating." In fact, the Inquisition by 1808 was nearing the end of its influence, and while it could draw attention to "dangerous" forms of expression, be they books, plays, or paintings, it was usually unable to fully suppress them.

Prompt: 裸のマハの宗教裁判を説明してください。英語で出力して下さい。

Alcúdia
Philip IV of Spain
Rokeby Venus
Titian


section

裸のマハ

upright=1The identity of the model and why the paintings were created are today unknown. Both paintings are first recorded in an inventory of "unpopular and unsuccessful art" by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung in a private room reserved for nude paintings, alongside such works as Velázquez's Rokeby Venus. As Godoy had only been found in possession of the painting, Goya was asked to identify why "he did them", and also "at whose request, and what attention guided him." His answers do not survive, but it is known that the Director of Confiscations accepted that Goya had followed and emulated Titian's Danaë series and Velázquez's Rokeby Venus; two painters whose works, including their nudes, were admired by the court and church, and the Inquisition had previously found nothing objectionable in the Rokeby Venus.Goya escaped prosecution when the tribunal accepted that he was following in a tradition, and emulating a Velázquez painting which had been favoured by Philip IV of Spain. The earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, "the room where His Majesty retires after eating." In fact, the Inquisition by 1808 was nearing the end of its influence, and while it could draw attention to "dangerous" forms of expression, be they books, plays, or paintings, it was usually unable to fully suppress them.

Prompt: 裸のマハはどのように宗教裁判を説明していますか？英語で出力して下さい。

Alcúdia
Philip IV of Spain
Rokeby Venus
Titian


section

裸のマハ

upright=1The identity of the model and why the paintings were created are today unknown. Both paintings are first recorded in an inventory of "unpopular and unsuccessful art" by Prime Minister Manuel de Godoy, Duke of Alcúdia in 1800, when they were hung in a private room reserved for nude paintings, alongside such works as Velázquez's Rokeby Venus. As Godoy had only been found in possession of the painting, Goya was asked to identify why "he did them", and also "at whose request, and what attention guided him." His answers do not survive, but it is known that the Director of Confiscations accepted that Goya had followed and emulated Titian's Danaë series and Velázquez's Rokeby Venus; two painters whose works, including their nudes, were admired by the court and church, and the Inquisition had previously found nothing objectionable in the Rokeby Venus.Goya escaped prosecution when the tribunal accepted that he was following in a tradition, and emulating a Velázquez painting which had been favoured by Philip IV of Spain. The earlier picture of Venus had been similarly kept out of view by that art-loving king in a private room, "the room where His Majesty retires after eating." In fact, the Inquisition by 1808 was nearing the end of its influence, and while it could draw attention to "dangerous" forms of expression, be they books, plays, or paintings, it was usually unable to fully suppress them.

Prompt: 裸のマハに関して、どのように宗教裁判が議論されていますか？英語で出力して下さい。

Alcúdia
Philip IV of Spain
Rokeby Venus
Titian


section

裸のマハ

right maja desnuda has always hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901.It is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession.

Prompt: 裸のマハに焦点を当てて、その起源を説明してください。英語で出力して下さい。


section

裸のマハ

right maja desnuda has always hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901.It is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession.

Prompt: 裸のマハの起源を説明してください。英語で出力して下さい。


section

裸のマハ

right maja desnuda has always hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901.It is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession.

Prompt: 裸のマハはどのように起源を説明していますか？英語で出力して下さい。


section

裸のマハ

right maja desnuda has always hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being "sequestered" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901.It is not known if the two works were intended to be hung together. One early account gives the Clothed Maja placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be spaced apart, and seen in succession.

Prompt: 裸のマハに関して、どのように起源が議論されていますか？英語で出力して下さい。


section

裸のマハ

It has been conjectured that the woman depicted was Prime Minister Godoy's young mistress Pepita Tudó. It has also been suggested that the woman was María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and whose portrait he painted twice . However, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a more likely candidate. Others believe that the woman is a composite of several different models.The word maja is the feminine form of majo, a low-class Spaniard of the 18th and 19th century.

Prompt: 裸のマハに焦点を当てて、そのモデルの識別を説明してください。英語で出力して下さい。


section

裸のマハ

It has been conjectured that the woman depicted was Prime Minister Godoy's young mistress Pepita Tudó. It has also been suggested that the woman was María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and whose portrait he painted twice . However, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a more likely candidate. Others believe that the woman is a composite of several different models.The word maja is the feminine form of majo, a low-class Spaniard of the 18th and 19th century.

Prompt: 裸のマハのモデルの識別を説明してください。英語で出力して下さい。


section

裸のマハ

It has been conjectured that the woman depicted was Prime Minister Godoy's young mistress Pepita Tudó. It has also been suggested that the woman was María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and whose portrait he painted twice . However, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a more likely candidate. Others believe that the woman is a composite of several different models.The word maja is the feminine form of majo, a low-class Spaniard of the 18th and 19th century.

Prompt: 裸のマハはどのようにモデルの識別を説明していますか？英語で出力して下さい。


section

裸のマハ

It has been conjectured that the woman depicted was Prime Minister Godoy's young mistress Pepita Tudó. It has also been suggested that the woman was María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and whose portrait he painted twice . However, many scholars have rejected this possibility, including Australian art critic Robert Hughes in his 2003 biography Goya. Many agree that Pepita Tudó is a more likely candidate. Others believe that the woman is a composite of several different models.The word maja is the feminine form of majo, a low-class Spaniard of the 18th and 19th century.

Prompt: 裸のマハに関して、どのようにモデルの識別が議論されていますか？英語で出力して下さい。


section

裸のマハ

The work has inspired other artists. Jeffrey Meyers, in his book Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manet's Olympia "boldly alluded to another masterpiece, Goya's Naked Maja."Two sets of stamps depicting  maja desnuda in commemoration of Goya's work were privately produced in 1930 and later approved by the Spanish Postal Authority.The novel The Naked Maja  is based on Goya's affairs with the Duchess. ter that same year, an Italian-French-American co-production film based on this novel  was made by S.G.C., Titanus Films, and United Artists.The painting figures into the plot of film Toto in Madrid, an Italian comedy film from 1959, directed by Steno, written by Vittorio Metz, starring Totò and Louis de Funès.In the comedy film The Toy , U.S. Bates has a portrait of his young wife posed in imitation of  maja vestida. A hidden switch on Bates' desk causes the figure's clothes to slide away, making it now resemble  maja desnuda.

Prompt: 裸のマハに焦点を当てて、その影響を説明してください。英語で出力して下さい。

Louis de Funès
Madrid
The Naked Maja
Titanus
Toto in Madrid
Totò
United Artists
Vittorio Metz


section

裸のマハ

The work has inspired other artists. Jeffrey Meyers, in his book Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manet's Olympia "boldly alluded to another masterpiece, Goya's Naked Maja."Two sets of stamps depicting  maja desnuda in commemoration of Goya's work were privately produced in 1930 and later approved by the Spanish Postal Authority.The novel The Naked Maja  is based on Goya's affairs with the Duchess. ter that same year, an Italian-French-American co-production film based on this novel  was made by S.G.C., Titanus Films, and United Artists.The painting figures into the plot of film Toto in Madrid, an Italian comedy film from 1959, directed by Steno, written by Vittorio Metz, starring Totò and Louis de Funès.In the comedy film The Toy , U.S. Bates has a portrait of his young wife posed in imitation of  maja vestida. A hidden switch on Bates' desk causes the figure's clothes to slide away, making it now resemble  maja desnuda.

Prompt: 裸のマハの影響を説明してください。英語で出力して下さい。

Louis de Funès
Madrid
The Naked Maja
Titanus
Toto in Madrid
Totò
United Artists
Vittorio Metz


section

裸のマハ

The work has inspired other artists. Jeffrey Meyers, in his book Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manet's Olympia "boldly alluded to another masterpiece, Goya's Naked Maja."Two sets of stamps depicting  maja desnuda in commemoration of Goya's work were privately produced in 1930 and later approved by the Spanish Postal Authority.The novel The Naked Maja  is based on Goya's affairs with the Duchess. ter that same year, an Italian-French-American co-production film based on this novel  was made by S.G.C., Titanus Films, and United Artists.The painting figures into the plot of film Toto in Madrid, an Italian comedy film from 1959, directed by Steno, written by Vittorio Metz, starring Totò and Louis de Funès.In the comedy film The Toy , U.S. Bates has a portrait of his young wife posed in imitation of  maja vestida. A hidden switch on Bates' desk causes the figure's clothes to slide away, making it now resemble  maja desnuda.

Prompt: 裸のマハはどのように影響を説明していますか？英語で出力して下さい。

Louis de Funès
Madrid
The Naked Maja
Titanus
Toto in Madrid
Totò
United Artists
Vittorio Metz


section

裸のマハ

The work has inspired other artists. Jeffrey Meyers, in his book Impressionist Quartet: The Intimate Genius of Manet and Morisot, Degas and Cassatt, opines that Manet's Olympia "boldly alluded to another masterpiece, Goya's Naked Maja."Two sets of stamps depicting  maja desnuda in commemoration of Goya's work were privately produced in 1930 and later approved by the Spanish Postal Authority.The novel The Naked Maja  is based on Goya's affairs with the Duchess. ter that same year, an Italian-French-American co-production film based on this novel  was made by S.G.C., Titanus Films, and United Artists.The painting figures into the plot of film Toto in Madrid, an Italian comedy film from 1959, directed by Steno, written by Vittorio Metz, starring Totò and Louis de Funès.In the comedy film The Toy , U.S. Bates has a portrait of his young wife posed in imitation of  maja vestida. A hidden switch on Bates' desk causes the figure's clothes to slide away, making it now resemble  maja desnuda.

Prompt: 裸のマハに関して、どのように影響が議論されていますか？英語で出力して下さい。

Louis de Funès
Madrid
The Naked Maja
Titanus
Toto in Madrid
Totò
United Artists
Vittorio Metz


section

裸のマハ

List of works by Francisco Goya 100 Great Paintings, 1980 BBC series

Prompt: 裸のマハに焦点を当てて、その参照を説明してください。英語で出力して下さい。

100 Great Paintings
Francisco Goya
Francisco Goya
List of works by Francisco Goya


section

裸のマハ

List of works by Francisco Goya 100 Great Paintings, 1980 BBC series

Prompt: 裸のマハの参照を説明してください。英語で出力して下さい。

100 Great Paintings
Francisco Goya
Francisco Goya
List of works by Francisco Goya


section

裸のマハ

List of works by Francisco Goya 100 Great Paintings, 1980 BBC series

Prompt: 裸のマハ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。

100 Great Paintings
Francisco Goya
Francisco Goya
List of works by Francisco Goya


section

裸のマハ

List of works by Francisco Goya 100 Great Paintings, 1980 BBC series

Prompt: 裸のマハに関して、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。

100 Great Paintings
Francisco Goya
Francisco Goya
List of works by Francisco Goya


section

裸のマハ

Connell, Evan S. Francisco Goya: A Life. New York: Counterpoint, 2004.  Hughes, Robert. Goya. New York: Alfred A. Knopf, 2004.  Portús, Javier. Nudes and Knights: A Context for Venus, in Carr, Dawson W. Velázquez. Ed. Dawson W. Carr; also Xavier Bray, Javier Portús and others. National Gallery London, 2006.   Tomlinson, Janis A. Goya in the Twilight of Enlightenment. Yale University Press, 1992.

Prompt: 裸のマハに焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

裸のマハ

Connell, Evan S. Francisco Goya: A Life. New York: Counterpoint, 2004.  Hughes, Robert. Goya. New York: Alfred A. Knopf, 2004.  Portús, Javier. Nudes and Knights: A Context for Venus, in Carr, Dawson W. Velázquez. Ed. Dawson W. Carr; also Xavier Bray, Javier Portús and others. National Gallery London, 2006.   Tomlinson, Janis A. Goya in the Twilight of Enlightenment. Yale University Press, 1992.

Prompt: 裸のマハの情報源を説明してください。英語で出力して下さい。


section

裸のマハ

Connell, Evan S. Francisco Goya: A Life. New York: Counterpoint, 2004.  Hughes, Robert. Goya. New York: Alfred A. Knopf, 2004.  Portús, Javier. Nudes and Knights: A Context for Venus, in Carr, Dawson W. Velázquez. Ed. Dawson W. Carr; also Xavier Bray, Javier Portús and others. National Gallery London, 2006.   Tomlinson, Janis A. Goya in the Twilight of Enlightenment. Yale University Press, 1992.

Prompt: 裸のマハはどのように情報源を説明していますか？英語で出力して下さい。


section

裸のマハ

Connell, Evan S. Francisco Goya: A Life. New York: Counterpoint, 2004.  Hughes, Robert. Goya. New York: Alfred A. Knopf, 2004.  Portús, Javier. Nudes and Knights: A Context for Venus, in Carr, Dawson W. Velázquez. Ed. Dawson W. Carr; also Xavier Bray, Javier Portús and others. National Gallery London, 2006.   Tomlinson, Janis A. Goya in the Twilight of Enlightenment. Yale University Press, 1992.

Prompt: 裸のマハに関して、どのように情報源が議論されていますか？英語で出力して下さい。


section

オーヴェルの教会

catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.

Prompt: オーヴェルの教会に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Auvers-sur-Oise
Musée d'Orsay
Paris
Vincent van Gogh


section

オーヴェルの教会

catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.

Prompt: オーヴェルの教会の抽象を説明してください。英語で出力して下さい。

Auvers-sur-Oise
Musée d'Orsay
Paris
Vincent van Gogh


section

オーヴェルの教会

catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.

Prompt: オーヴェルの教会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。

Auvers-sur-Oise
Musée d'Orsay
Paris
Vincent van Gogh


section

オーヴェルの教会

catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.

Prompt: オーヴェルの教会に関して、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。

Auvers-sur-Oise
Musée d'Orsay
Paris
Vincent van Gogh


section

オーヴェルの教会

The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own." After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'"The motif of diverging paths also appears in his painting Wheat Field with Crows.

Prompt: オーヴェルの教会に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Auvers-sur-Oise
Borinage
Cuesmes
Henry IV, Part 1
Nuenen
Portrait of Adeline Ravoux
Saint-Rémy-de-Provence
The Town Hall at Auvers


section

オーヴェルの教会

The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own." After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'"The motif of diverging paths also appears in his painting Wheat Field with Crows.

Prompt: オーヴェルの教会の歴史を説明してください。英語で出力して下さい。

Auvers-sur-Oise
Borinage
Cuesmes
Henry IV, Part 1
Nuenen
Portrait of Adeline Ravoux
Saint-Rémy-de-Provence
The Town Hall at Auvers


section

オーヴェルの教会

The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own." After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'"The motif of diverging paths also appears in his painting Wheat Field with Crows.

Prompt: オーヴェルの教会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。

Auvers-sur-Oise
Borinage
Cuesmes
Henry IV, Part 1
Nuenen
Portrait of Adeline Ravoux
Saint-Rémy-de-Provence
The Town Hall at Auvers


section

オーヴェルの教会

The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own." After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'"The motif of diverging paths also appears in his painting Wheat Field with Crows.

Prompt: オーヴェルの教会に関して、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。

Auvers-sur-Oise
Borinage
Cuesmes
Henry IV, Part 1
Nuenen
Portrait of Adeline Ravoux
Saint-Rémy-de-Provence
The Town Hall at Auvers


section

オーヴェルの教会

The Church at Auvers plays a prominent role in "Vincent and the Doctor", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.

Prompt: オーヴェルの教会に焦点を当てて、その大衆文化でを説明してください。英語で出力して下さい。

Doctor Who
Llandaff Cathedral
Vincent and the Doctor


section

オーヴェルの教会

The Church at Auvers plays a prominent role in "Vincent and the Doctor", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.

Prompt: オーヴェルの教会の大衆文化でを説明してください。英語で出力して下さい。

Doctor Who
Llandaff Cathedral
Vincent and the Doctor


section

オーヴェルの教会

The Church at Auvers plays a prominent role in "Vincent and the Doctor", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.

Prompt: オーヴェルの教会はどのように大衆文化でを説明していますか？英語で出力して下さい。

Doctor Who
Llandaff Cathedral
Vincent and the Doctor


section

オーヴェルの教会

The Church at Auvers plays a prominent role in "Vincent and the Doctor", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.

Prompt: オーヴェルの教会に関して、どのように大衆文化でが議論されていますか？英語で出力して下さい。

Doctor Who
Llandaff Cathedral
Vincent and the Doctor


section

オーヴェルの教会

Prompt: オーヴェルの教会に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

オーヴェルの教会

Prompt: オーヴェルの教会の参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

オーヴェルの教会

Prompt: オーヴェルの教会はどのように参照を説明していますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

オーヴェルの教会

Prompt: オーヴェルの教会に関して、どのように参照が議論されていますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

富岡鉄斎

or  birth_place   = Kyoto, Japan death_date    =  death_place   =  nationality   = Japanese field         = Painter, calligrapher training      =  movement      = Bunjinga, Nihonga works         =  patrons       =  awards        =}} was the pseudonym for a painter and calligrapher in imperial Japan. He is regarded as the last major artist in the Bunjinga tradition and one of the first major artists of the Nihonga style. His real name was Yusuke, which he later changed to Hyakuren.

Prompt: 富岡鉄斎に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

富岡鉄斎

or  birth_place   = Kyoto, Japan death_date    =  death_place   =  nationality   = Japanese field         = Painter, calligrapher training      =  movement      = Bunjinga, Nihonga works         =  patrons       =  awards        =}} was the pseudonym for a painter and calligrapher in imperial Japan. He is regarded as the last major artist in the Bunjinga tradition and one of the first major artists of the Nihonga style. His real name was Yusuke, which he later changed to Hyakuren.

Prompt: 富岡鉄斎の抽象を説明してください。英語で出力して下さい。


section

富岡鉄斎

or  birth_place   = Kyoto, Japan death_date    =  death_place   =  nationality   = Japanese field         = Painter, calligrapher training      =  movement      = Bunjinga, Nihonga works         =  patrons       =  awards        =}} was the pseudonym for a painter and calligrapher in imperial Japan. He is regarded as the last major artist in the Bunjinga tradition and one of the first major artists of the Nihonga style. His real name was Yusuke, which he later changed to Hyakuren.

Prompt: 富岡鉄斎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

富岡鉄斎

or  birth_place   = Kyoto, Japan death_date    =  death_place   =  nationality   = Japanese field         = Painter, calligrapher training      =  movement      = Bunjinga, Nihonga works         =  patrons       =  awards        =}} was the pseudonym for a painter and calligrapher in imperial Japan. He is regarded as the last major artist in the Bunjinga tradition and one of the first major artists of the Nihonga style. His real name was Yusuke, which he later changed to Hyakuren.

Prompt: 富岡鉄斎に関して、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

富岡鉄斎

Tessai was born in either 1836 or 1837 in Kyoto, as the second son of Tomioka Korenobu, who sold sacerdotal robes. Because his hearing was not good his parents decided he should be a scholar, rather than a merchant. He was educated as a scholar in classical Chinese philosophy and literature and the ancient Japanese classics under noted kokugaku scholar Okuni Tadamasa.Tessai's father died in 1843, when he was only seven. The family fortunes declined, and young Tessai became a page at a Shinto shrine. Twelve years later, he came to be lodged with the now-famous Buddhist poet and nun Ōtagaki Rengetsu, who would become his greatest scholarly mentor and supporter. He developed his own style over the next decade or so, studying under a number of accomplished painters.In 1861, Tessai opened a private school in Rengetsu's house to teach painting; he went on to become a teacher at the newly inaugurated Ritsumeikan University in 1868. He also did some work for the new Meiji government, contributing maps and topographical charts he created. Throughout the Meiji period, Tessai traveled extensively, visiting famous and scenic places that would later become subjects of his paintings. He was able to see many different sides of the country all the way from Nagasaki to Hokkaidō. He also served as a Shinto priest at a number of different shrines, but ultimately resigned from his final post when his brother died, so that he could look after his mother.After Tessai settled back in Kyoto in 1882, he championed the old styles of Japanese traditional painting against the new influences of Western art , then becoming more and more popular, and was thus a participant in the early nihonga movement.Tessai's early works followed the bunjinga styles of the early 19th century, although he also worked in almost all of the styles associated with Kyoto: Rimpa, Yamato-e, Otsu-e, etc. However, his mature style concentrated on Nanga, or Chinese style paintings based on the late Ming dynasty artists from Suzhou and Jiangsu Provinces, which had been introduced to Japan by Sakaki Hyakusen. Tessai tended towards use of rich colors to portray scenes of people in landscapes, with a composition intended to evoke or illustrate a historical or literary episode. He also sometimes made use of religious imagery, combining depictions of Buddhist bodhisattva with Daoist or Confucian figures to symbolize the unity of Asian religious traditions. Tessai's final works either use very brilliant colors, or else were monochrome ink with dense, rough brushwork and occasional slight jarring touches of bright pigments.In the 1890s, he was appointed a judge of the Young Men's Society of Painting, and became a professor at the Kyoto Fine Arts School soon afterwards. He also took part in the founding of several other art associations, including the Nanga Association of Japan. His mother died in 1895, but Tessai continued to have close relations with his family and gained a granddaughter several years later.In 1907, he was appointed official painter to Emperor Meiji, who so liked his works that his commission was extended to cover the Imperial Household Agency as a court painter in 1917. He was also appointed a member of the Imperial Fine Arts Academy  in 1919.Throughout his life, Tessai served as a Shinto priest and a scholar. He was an extremely prolific painter, and it is estimated that he painted approximately 20,000 paintings in the course of his career. On one occasion he completed 70 paintings in a single day. Tessai's best works were created in the last years of his life, from age 80 to his death in 1924 at age 88.The largest collection of Tessai's works is at the Tessai Memorial Museum, a private art museum within the grounds of the Kiyoshikojin Seicho-ji, a Buddhist temple in Takarazuka, Hyogo. His art is also kept in the Princeton University Art Museum, University of Michigan Museum of Art, the National Museum of Asian Art, the British Museum, the Seattle Art Museum, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art, the Birmingham Museum of Art, the Minneapolis Institute of Art, and the Museum of Fine Arts, Boston.

Prompt: 富岡鉄斎に焦点を当てて、その伝記を説明してください。英語で出力して下さい。

Birmingham Museum of Art
British Museum
Chinese philosophy
Emperor Meiji
Imperial Household Agency
Japan
Jiangsu
Kyoto
Metropolitan Museum of Art
Ming dynasty
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Nelson-Atkins Museum of Art
Otsu-e
Painting
Princeton University Art Museum
Ritsumeikan University
Sakaki Hyakusen
Seattle Art Museum
Shinto
Suzhou
University of Michigan Museum of Art
Yamato-e
Ōtagaki Rengetsu


section

富岡鉄斎

Tessai was born in either 1836 or 1837 in Kyoto, as the second son of Tomioka Korenobu, who sold sacerdotal robes. Because his hearing was not good his parents decided he should be a scholar, rather than a merchant. He was educated as a scholar in classical Chinese philosophy and literature and the ancient Japanese classics under noted kokugaku scholar Okuni Tadamasa.Tessai's father died in 1843, when he was only seven. The family fortunes declined, and young Tessai became a page at a Shinto shrine. Twelve years later, he came to be lodged with the now-famous Buddhist poet and nun Ōtagaki Rengetsu, who would become his greatest scholarly mentor and supporter. He developed his own style over the next decade or so, studying under a number of accomplished painters.In 1861, Tessai opened a private school in Rengetsu's house to teach painting; he went on to become a teacher at the newly inaugurated Ritsumeikan University in 1868. He also did some work for the new Meiji government, contributing maps and topographical charts he created. Throughout the Meiji period, Tessai traveled extensively, visiting famous and scenic places that would later become subjects of his paintings. He was able to see many different sides of the country all the way from Nagasaki to Hokkaidō. He also served as a Shinto priest at a number of different shrines, but ultimately resigned from his final post when his brother died, so that he could look after his mother.After Tessai settled back in Kyoto in 1882, he championed the old styles of Japanese traditional painting against the new influences of Western art , then becoming more and more popular, and was thus a participant in the early nihonga movement.Tessai's early works followed the bunjinga styles of the early 19th century, although he also worked in almost all of the styles associated with Kyoto: Rimpa, Yamato-e, Otsu-e, etc. However, his mature style concentrated on Nanga, or Chinese style paintings based on the late Ming dynasty artists from Suzhou and Jiangsu Provinces, which had been introduced to Japan by Sakaki Hyakusen. Tessai tended towards use of rich colors to portray scenes of people in landscapes, with a composition intended to evoke or illustrate a historical or literary episode. He also sometimes made use of religious imagery, combining depictions of Buddhist bodhisattva with Daoist or Confucian figures to symbolize the unity of Asian religious traditions. Tessai's final works either use very brilliant colors, or else were monochrome ink with dense, rough brushwork and occasional slight jarring touches of bright pigments.In the 1890s, he was appointed a judge of the Young Men's Society of Painting, and became a professor at the Kyoto Fine Arts School soon afterwards. He also took part in the founding of several other art associations, including the Nanga Association of Japan. His mother died in 1895, but Tessai continued to have close relations with his family and gained a granddaughter several years later.In 1907, he was appointed official painter to Emperor Meiji, who so liked his works that his commission was extended to cover the Imperial Household Agency as a court painter in 1917. He was also appointed a member of the Imperial Fine Arts Academy  in 1919.Throughout his life, Tessai served as a Shinto priest and a scholar. He was an extremely prolific painter, and it is estimated that he painted approximately 20,000 paintings in the course of his career. On one occasion he completed 70 paintings in a single day. Tessai's best works were created in the last years of his life, from age 80 to his death in 1924 at age 88.The largest collection of Tessai's works is at the Tessai Memorial Museum, a private art museum within the grounds of the Kiyoshikojin Seicho-ji, a Buddhist temple in Takarazuka, Hyogo. His art is also kept in the Princeton University Art Museum, University of Michigan Museum of Art, the National Museum of Asian Art, the British Museum, the Seattle Art Museum, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art, the Birmingham Museum of Art, the Minneapolis Institute of Art, and the Museum of Fine Arts, Boston.

Prompt: 富岡鉄斎の伝記を説明してください。英語で出力して下さい。

Birmingham Museum of Art
British Museum
Chinese philosophy
Emperor Meiji
Imperial Household Agency
Japan
Jiangsu
Kyoto
Metropolitan Museum of Art
Ming dynasty
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Nelson-Atkins Museum of Art
Otsu-e
Painting
Princeton University Art Museum
Ritsumeikan University
Sakaki Hyakusen
Seattle Art Museum
Shinto
Suzhou
University of Michigan Museum of Art
Yamato-e
Ōtagaki Rengetsu


section

富岡鉄斎

Tessai was born in either 1836 or 1837 in Kyoto, as the second son of Tomioka Korenobu, who sold sacerdotal robes. Because his hearing was not good his parents decided he should be a scholar, rather than a merchant. He was educated as a scholar in classical Chinese philosophy and literature and the ancient Japanese classics under noted kokugaku scholar Okuni Tadamasa.Tessai's father died in 1843, when he was only seven. The family fortunes declined, and young Tessai became a page at a Shinto shrine. Twelve years later, he came to be lodged with the now-famous Buddhist poet and nun Ōtagaki Rengetsu, who would become his greatest scholarly mentor and supporter. He developed his own style over the next decade or so, studying under a number of accomplished painters.In 1861, Tessai opened a private school in Rengetsu's house to teach painting; he went on to become a teacher at the newly inaugurated Ritsumeikan University in 1868. He also did some work for the new Meiji government, contributing maps and topographical charts he created. Throughout the Meiji period, Tessai traveled extensively, visiting famous and scenic places that would later become subjects of his paintings. He was able to see many different sides of the country all the way from Nagasaki to Hokkaidō. He also served as a Shinto priest at a number of different shrines, but ultimately resigned from his final post when his brother died, so that he could look after his mother.After Tessai settled back in Kyoto in 1882, he championed the old styles of Japanese traditional painting against the new influences of Western art , then becoming more and more popular, and was thus a participant in the early nihonga movement.Tessai's early works followed the bunjinga styles of the early 19th century, although he also worked in almost all of the styles associated with Kyoto: Rimpa, Yamato-e, Otsu-e, etc. However, his mature style concentrated on Nanga, or Chinese style paintings based on the late Ming dynasty artists from Suzhou and Jiangsu Provinces, which had been introduced to Japan by Sakaki Hyakusen. Tessai tended towards use of rich colors to portray scenes of people in landscapes, with a composition intended to evoke or illustrate a historical or literary episode. He also sometimes made use of religious imagery, combining depictions of Buddhist bodhisattva with Daoist or Confucian figures to symbolize the unity of Asian religious traditions. Tessai's final works either use very brilliant colors, or else were monochrome ink with dense, rough brushwork and occasional slight jarring touches of bright pigments.In the 1890s, he was appointed a judge of the Young Men's Society of Painting, and became a professor at the Kyoto Fine Arts School soon afterwards. He also took part in the founding of several other art associations, including the Nanga Association of Japan. His mother died in 1895, but Tessai continued to have close relations with his family and gained a granddaughter several years later.In 1907, he was appointed official painter to Emperor Meiji, who so liked his works that his commission was extended to cover the Imperial Household Agency as a court painter in 1917. He was also appointed a member of the Imperial Fine Arts Academy  in 1919.Throughout his life, Tessai served as a Shinto priest and a scholar. He was an extremely prolific painter, and it is estimated that he painted approximately 20,000 paintings in the course of his career. On one occasion he completed 70 paintings in a single day. Tessai's best works were created in the last years of his life, from age 80 to his death in 1924 at age 88.The largest collection of Tessai's works is at the Tessai Memorial Museum, a private art museum within the grounds of the Kiyoshikojin Seicho-ji, a Buddhist temple in Takarazuka, Hyogo. His art is also kept in the Princeton University Art Museum, University of Michigan Museum of Art, the National Museum of Asian Art, the British Museum, the Seattle Art Museum, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art, the Birmingham Museum of Art, the Minneapolis Institute of Art, and the Museum of Fine Arts, Boston.

Prompt: 富岡鉄斎はどのように伝記を説明していますか？英語で出力して下さい。

Birmingham Museum of Art
British Museum
Chinese philosophy
Emperor Meiji
Imperial Household Agency
Japan
Jiangsu
Kyoto
Metropolitan Museum of Art
Ming dynasty
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Nelson-Atkins Museum of Art
Otsu-e
Painting
Princeton University Art Museum
Ritsumeikan University
Sakaki Hyakusen
Seattle Art Museum
Shinto
Suzhou
University of Michigan Museum of Art
Yamato-e
Ōtagaki Rengetsu


section

富岡鉄斎

Tessai was born in either 1836 or 1837 in Kyoto, as the second son of Tomioka Korenobu, who sold sacerdotal robes. Because his hearing was not good his parents decided he should be a scholar, rather than a merchant. He was educated as a scholar in classical Chinese philosophy and literature and the ancient Japanese classics under noted kokugaku scholar Okuni Tadamasa.Tessai's father died in 1843, when he was only seven. The family fortunes declined, and young Tessai became a page at a Shinto shrine. Twelve years later, he came to be lodged with the now-famous Buddhist poet and nun Ōtagaki Rengetsu, who would become his greatest scholarly mentor and supporter. He developed his own style over the next decade or so, studying under a number of accomplished painters.In 1861, Tessai opened a private school in Rengetsu's house to teach painting; he went on to become a teacher at the newly inaugurated Ritsumeikan University in 1868. He also did some work for the new Meiji government, contributing maps and topographical charts he created. Throughout the Meiji period, Tessai traveled extensively, visiting famous and scenic places that would later become subjects of his paintings. He was able to see many different sides of the country all the way from Nagasaki to Hokkaidō. He also served as a Shinto priest at a number of different shrines, but ultimately resigned from his final post when his brother died, so that he could look after his mother.After Tessai settled back in Kyoto in 1882, he championed the old styles of Japanese traditional painting against the new influences of Western art , then becoming more and more popular, and was thus a participant in the early nihonga movement.Tessai's early works followed the bunjinga styles of the early 19th century, although he also worked in almost all of the styles associated with Kyoto: Rimpa, Yamato-e, Otsu-e, etc. However, his mature style concentrated on Nanga, or Chinese style paintings based on the late Ming dynasty artists from Suzhou and Jiangsu Provinces, which had been introduced to Japan by Sakaki Hyakusen. Tessai tended towards use of rich colors to portray scenes of people in landscapes, with a composition intended to evoke or illustrate a historical or literary episode. He also sometimes made use of religious imagery, combining depictions of Buddhist bodhisattva with Daoist or Confucian figures to symbolize the unity of Asian religious traditions. Tessai's final works either use very brilliant colors, or else were monochrome ink with dense, rough brushwork and occasional slight jarring touches of bright pigments.In the 1890s, he was appointed a judge of the Young Men's Society of Painting, and became a professor at the Kyoto Fine Arts School soon afterwards. He also took part in the founding of several other art associations, including the Nanga Association of Japan. His mother died in 1895, but Tessai continued to have close relations with his family and gained a granddaughter several years later.In 1907, he was appointed official painter to Emperor Meiji, who so liked his works that his commission was extended to cover the Imperial Household Agency as a court painter in 1917. He was also appointed a member of the Imperial Fine Arts Academy  in 1919.Throughout his life, Tessai served as a Shinto priest and a scholar. He was an extremely prolific painter, and it is estimated that he painted approximately 20,000 paintings in the course of his career. On one occasion he completed 70 paintings in a single day. Tessai's best works were created in the last years of his life, from age 80 to his death in 1924 at age 88.The largest collection of Tessai's works is at the Tessai Memorial Museum, a private art museum within the grounds of the Kiyoshikojin Seicho-ji, a Buddhist temple in Takarazuka, Hyogo. His art is also kept in the Princeton University Art Museum, University of Michigan Museum of Art, the National Museum of Asian Art, the British Museum, the Seattle Art Museum, the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art, the Birmingham Museum of Art, the Minneapolis Institute of Art, and the Museum of Fine Arts, Boston.

Prompt: 富岡鉄斎に関して、どのように伝記が議論されていますか？英語で出力して下さい。

Birmingham Museum of Art
British Museum
Chinese philosophy
Emperor Meiji
Imperial Household Agency
Japan
Jiangsu
Kyoto
Metropolitan Museum of Art
Ming dynasty
Minneapolis Institute of Art
Museum of Fine Arts, Boston
Nelson-Atkins Museum of Art
Otsu-e
Painting
Princeton University Art Museum
Ritsumeikan University
Sakaki Hyakusen
Seattle Art Museum
Shinto
Suzhou
University of Michigan Museum of Art
Yamato-e
Ōtagaki Rengetsu


section

富岡鉄斎

「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図  Hakutaka Museum「二神会舞図」Tokyo National Museum「旧蝦夷風俗図」 Tokyo National Museum「不尽山頂全図」「蓬莱仙境図」「弘法大師像図」「蘇東坡図」「武陵桃源図」 「瀛洲遷境図」 「阿倍仲麻呂在唐詠和歌図」Adachi Art Museum

Prompt: 富岡鉄斎に焦点を当てて、その重要な作品を説明してください。英語で出力して下さい。


section

富岡鉄斎

「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図  Hakutaka Museum「二神会舞図」Tokyo National Museum「旧蝦夷風俗図」 Tokyo National Museum「不尽山頂全図」「蓬莱仙境図」「弘法大師像図」「蘇東坡図」「武陵桃源図」 「瀛洲遷境図」 「阿倍仲麻呂在唐詠和歌図」Adachi Art Museum

Prompt: 富岡鉄斎の重要な作品を説明してください。英語で出力して下さい。


section

富岡鉄斎

「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図  Hakutaka Museum「二神会舞図」Tokyo National Museum「旧蝦夷風俗図」 Tokyo National Museum「不尽山頂全図」「蓬莱仙境図」「弘法大師像図」「蘇東坡図」「武陵桃源図」 「瀛洲遷境図」 「阿倍仲麻呂在唐詠和歌図」Adachi Art Museum

Prompt: 富岡鉄斎はどのように重要な作品を説明していますか？英語で出力して下さい。


section

富岡鉄斎

「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図  Hakutaka Museum「二神会舞図」Tokyo National Museum「旧蝦夷風俗図」 Tokyo National Museum「不尽山頂全図」「蓬莱仙境図」「弘法大師像図」「蘇東坡図」「武陵桃源図」 「瀛洲遷境図」 「阿倍仲麻呂在唐詠和歌図」Adachi Art Museum

Prompt: 富岡鉄斎に関して、どのように重要な作品が議論されていますか？英語で出力して下さい。


section

富岡鉄斎

Briessen, Fritz van. The Way of the Brush: Painting Techniques of China and Japan. Tuttle .  Conant, Ellen P., Rimer, J. Thomas, Owyoung, Stephen. Nihonga: Transcending the Past: Japanese-Style Painting, 1868-1968. Weatherhill .  Musanokoji, Saneatsu. Concerning Tessai.  Odakane, Taro. Tessai, master of the literati style. Kodansha International  .  ASIN: B0007IT90M

Prompt: 富岡鉄斎に焦点を当てて、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

富岡鉄斎

Briessen, Fritz van. The Way of the Brush: Painting Techniques of China and Japan. Tuttle .  Conant, Ellen P., Rimer, J. Thomas, Owyoung, Stephen. Nihonga: Transcending the Past: Japanese-Style Painting, 1868-1968. Weatherhill .  Musanokoji, Saneatsu. Concerning Tessai.  Odakane, Taro. Tessai, master of the literati style. Kodansha International  .  ASIN: B0007IT90M

Prompt: 富岡鉄斎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

富岡鉄斎

Briessen, Fritz van. The Way of the Brush: Painting Techniques of China and Japan. Tuttle .  Conant, Ellen P., Rimer, J. Thomas, Owyoung, Stephen. Nihonga: Transcending the Past: Japanese-Style Painting, 1868-1968. Weatherhill .  Musanokoji, Saneatsu. Concerning Tessai.  Odakane, Taro. Tessai, master of the literati style. Kodansha International  .  ASIN: B0007IT90M

Prompt: 富岡鉄斎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

富岡鉄斎

Briessen, Fritz van. The Way of the Brush: Painting Techniques of China and Japan. Tuttle .  Conant, Ellen P., Rimer, J. Thomas, Owyoung, Stephen. Nihonga: Transcending the Past: Japanese-Style Painting, 1868-1968. Weatherhill .  Musanokoji, Saneatsu. Concerning Tessai.  Odakane, Taro. Tessai, master of the literati style. Kodansha International  .  ASIN: B0007IT90M

Prompt: 富岡鉄斎に関して、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

微笑む騎士 (ハルスの絵画)

height_metric = 83 width_metric  = 67.3 metric_unit   = cm imperial_unit = in city          = London museum        = Wallace Collection}}The ughing Cavalier  is a portrait by the Dutch Golden Age painter Frans Hals in the Wallace Collection in London. It was described by art historian Seymour Slive as "one of the most brilliant of all Baroque portraits". The title is an invention of the Victorian public and press, dating from its exhibition in the opening display at the Bethnal Green Museum in 1872–1875, just after its arrival in England, after which it was regularly reproduced as a print, and became one of the best known old master paintings in Britain. The unknown subject is in fact not laughing, but can be said to have an enigmatic smile, much amplified by his upturned moustache.

Prompt: 微笑む騎士 (ハルスの絵画)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。

Bethnal Green
Frans Hals
London
Seymour Slive
Wallace Collection


section

微笑む騎士 (ハルスの絵画)

height_metric = 83 width_metric  = 67.3 metric_unit   = cm imperial_unit = in city          = London museum        = Wallace Collection}}The ughing Cavalier  is a portrait by the Dutch Golden Age painter Frans Hals in the Wallace Collection in London. It was described by art historian Seymour Slive as "one of the most brilliant of all Baroque portraits". The title is an invention of the Victorian public and press, dating from its exhibition in the opening display at the Bethnal Green Museum in 1872–1875, just after its arrival in England, after which it was regularly reproduced as a print, and became one of the best known old master paintings in Britain. The unknown subject is in fact not laughing, but can be said to have an enigmatic smile, much amplified by his upturned moustache.

Prompt: 微笑む騎士 (ハルスの絵画)の抽象を説明してください。英語で出力して下さい。

Bethnal Green
Frans Hals
London
Seymour Slive
Wallace Collection


section

微笑む騎士 (ハルスの絵画)

height_metric = 83 width_metric  = 67.3 metric_unit   = cm imperial_unit = in city          = London museum        = Wallace Collection}}The ughing Cavalier  is a portrait by the Dutch Golden Age painter Frans Hals in the Wallace Collection in London. It was described by art historian Seymour Slive as "one of the most brilliant of all Baroque portraits". The title is an invention of the Victorian public and press, dating from its exhibition in the opening display at the Bethnal Green Museum in 1872–1875, just after its arrival in England, after which it was regularly reproduced as a print, and became one of the best known old master paintings in Britain. The unknown subject is in fact not laughing, but can be said to have an enigmatic smile, much amplified by his upturned moustache.

Prompt: 微笑む騎士 (ハルスの絵画)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。

Bethnal Green
Frans Hals
London
Seymour Slive
Wallace Collection


section

微笑む騎士 (ハルスの絵画)

height_metric = 83 width_metric  = 67.3 metric_unit   = cm imperial_unit = in city          = London museum        = Wallace Collection}}The ughing Cavalier  is a portrait by the Dutch Golden Age painter Frans Hals in the Wallace Collection in London. It was described by art historian Seymour Slive as "one of the most brilliant of all Baroque portraits". The title is an invention of the Victorian public and press, dating from its exhibition in the opening display at the Bethnal Green Museum in 1872–1875, just after its arrival in England, after which it was regularly reproduced as a print, and became one of the best known old master paintings in Britain. The unknown subject is in fact not laughing, but can be said to have an enigmatic smile, much amplified by his upturned moustache.

Prompt: 微笑む騎士 (ハルスの絵画)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。

Bethnal Green
Frans Hals
London
Seymour Slive
Wallace Collection


section

微笑む騎士 (ハルスの絵画)

The portrait measures 83 × 67.3 cm  and is inscribed at top right , which expands to  in tin and means that the portrait was painted when the sitter was 26 and in the year 1624, and was therefore born in 1597 or 1598. The identity of the man is unknown, and though the recorded 19th-century titles in Dutch, English and French mostly suggest a military man, or at least an officer in one of the part-time militia companies that were often the subjects of group portraits, including some by Hals and later Rembrandt's The Night Watch , in fact he was as likely to be a wealthy civilian. Art historian Pieter Biesboer suggests the painting may depict Dutch cloth merchant Tieleman Roosterman , who is also the subject of another Hals portrait.The composition is lively and spontaneous, and despite the apparent labour involved in the gorgeous, and very expensive, silk costume, close inspection reveals long, quick brush strokes. The turning pose and low viewpoint are found in other portraits by Hals and here allow emphasis on the embroidered sleeve and lace cuff.  There are many emblems in the embroidery: signifying "the pleasures and pains of love" are "bees, arrows, flaming cornucopiae, lovers' knots and tongues of fire", while an obelisk or pyramid signifies strength and Mercury's cap and caduceus fortune.In general, commissioned portraits such as this rarely showed adults smiling until the late 18th century, though smiling is often seen in tronies and figures in genre painting.  But Hals is an exception to the general rule and often showed sitters with broader smiles than here, and in informal poses that bring an impression of movement and spontaneity to his work.The effect of the eyes appearing to follow the viewer from every angle is a result of the subject being depicted as looking directly forward, toward the artist's point of view, combined with being a static two dimensional representation of this from whichever angle the painting itself is viewed.

Prompt: 微笑む騎士 (ハルスの絵画)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。

Pieter Biesboer
Rembrandt
The Night Watch
Tieleman Roosterman


section

微笑む騎士 (ハルスの絵画)

The portrait measures 83 × 67.3 cm  and is inscribed at top right , which expands to  in tin and means that the portrait was painted when the sitter was 26 and in the year 1624, and was therefore born in 1597 or 1598. The identity of the man is unknown, and though the recorded 19th-century titles in Dutch, English and French mostly suggest a military man, or at least an officer in one of the part-time militia companies that were often the subjects of group portraits, including some by Hals and later Rembrandt's The Night Watch , in fact he was as likely to be a wealthy civilian. Art historian Pieter Biesboer suggests the painting may depict Dutch cloth merchant Tieleman Roosterman , who is also the subject of another Hals portrait.The composition is lively and spontaneous, and despite the apparent labour involved in the gorgeous, and very expensive, silk costume, close inspection reveals long, quick brush strokes. The turning pose and low viewpoint are found in other portraits by Hals and here allow emphasis on the embroidered sleeve and lace cuff.  There are many emblems in the embroidery: signifying "the pleasures and pains of love" are "bees, arrows, flaming cornucopiae, lovers' knots and tongues of fire", while an obelisk or pyramid signifies strength and Mercury's cap and caduceus fortune.In general, commissioned portraits such as this rarely showed adults smiling until the late 18th century, though smiling is often seen in tronies and figures in genre painting.  But Hals is an exception to the general rule and often showed sitters with broader smiles than here, and in informal poses that bring an impression of movement and spontaneity to his work.The effect of the eyes appearing to follow the viewer from every angle is a result of the subject being depicted as looking directly forward, toward the artist's point of view, combined with being a static two dimensional representation of this from whichever angle the painting itself is viewed.

Prompt: 微笑む騎士 (ハルスの絵画)の説明を説明してください。英語で出力して下さい。

Pieter Biesboer
Rembrandt
The Night Watch
Tieleman Roosterman


section

微笑む騎士 (ハルスの絵画)

The portrait measures 83 × 67.3 cm  and is inscribed at top right , which expands to  in tin and means that the portrait was painted when the sitter was 26 and in the year 1624, and was therefore born in 1597 or 1598. The identity of the man is unknown, and though the recorded 19th-century titles in Dutch, English and French mostly suggest a military man, or at least an officer in one of the part-time militia companies that were often the subjects of group portraits, including some by Hals and later Rembrandt's The Night Watch , in fact he was as likely to be a wealthy civilian. Art historian Pieter Biesboer suggests the painting may depict Dutch cloth merchant Tieleman Roosterman , who is also the subject of another Hals portrait.The composition is lively and spontaneous, and despite the apparent labour involved in the gorgeous, and very expensive, silk costume, close inspection reveals long, quick brush strokes. The turning pose and low viewpoint are found in other portraits by Hals and here allow emphasis on the embroidered sleeve and lace cuff.  There are many emblems in the embroidery: signifying "the pleasures and pains of love" are "bees, arrows, flaming cornucopiae, lovers' knots and tongues of fire", while an obelisk or pyramid signifies strength and Mercury's cap and caduceus fortune.In general, commissioned portraits such as this rarely showed adults smiling until the late 18th century, though smiling is often seen in tronies and figures in genre painting.  But Hals is an exception to the general rule and often showed sitters with broader smiles than here, and in informal poses that bring an impression of movement and spontaneity to his work.The effect of the eyes appearing to follow the viewer from every angle is a result of the subject being depicted as looking directly forward, toward the artist's point of view, combined with being a static two dimensional representation of this from whichever angle the painting itself is viewed.

Prompt: 微笑む騎士 (ハルスの絵画)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。

Pieter Biesboer
Rembrandt
The Night Watch
Tieleman Roosterman


section

微笑む騎士 (ハルスの絵画)

The portrait measures 83 × 67.3 cm  and is inscribed at top right , which expands to  in tin and means that the portrait was painted when the sitter was 26 and in the year 1624, and was therefore born in 1597 or 1598. The identity of the man is unknown, and though the recorded 19th-century titles in Dutch, English and French mostly suggest a military man, or at least an officer in one of the part-time militia companies that were often the subjects of group portraits, including some by Hals and later Rembrandt's The Night Watch , in fact he was as likely to be a wealthy civilian. Art historian Pieter Biesboer suggests the painting may depict Dutch cloth merchant Tieleman Roosterman , who is also the subject of another Hals portrait.The composition is lively and spontaneous, and despite the apparent labour involved in the gorgeous, and very expensive, silk costume, close inspection reveals long, quick brush strokes. The turning pose and low viewpoint are found in other portraits by Hals and here allow emphasis on the embroidered sleeve and lace cuff.  There are many emblems in the embroidery: signifying "the pleasures and pains of love" are "bees, arrows, flaming cornucopiae, lovers' knots and tongues of fire", while an obelisk or pyramid signifies strength and Mercury's cap and caduceus fortune.In general, commissioned portraits such as this rarely showed adults smiling until the late 18th century, though smiling is often seen in tronies and figures in genre painting.  But Hals is an exception to the general rule and often showed sitters with broader smiles than here, and in informal poses that bring an impression of movement and spontaneity to his work.The effect of the eyes appearing to follow the viewer from every angle is a result of the subject being depicted as looking directly forward, toward the artist's point of view, combined with being a static two dimensional representation of this from whichever angle the painting itself is viewed.

Prompt: 微笑む騎士 (ハルスの絵画)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。

Pieter Biesboer
Rembrandt
The Night Watch
Tieleman Roosterman


section

微笑む騎士 (ハルスの絵画)

The painting's provenance only goes back to a sale in The Hague in 1770; after further Dutch sales it was bought by the Franco-Swiss banker and collector the Comte de Pourtalès-Gorgier in 1822.  After his death the painting was acquired at the auction of his collection in Paris in 1865 by Richard Seymour-Conway, 4th Marquess of Hertford, who outbid Baron James de Rothschild at more than six times the sales estimate.  It was in Hertford's Paris home in 1871, listed as portrait d'un homme , and then brought to London, probably for the purpose of exhibiting it in a large and long loan exhibition of old master paintings at Bethnal Green, which was deliberately sited away from the West End of London to attract the working classes.  The exhibition was a huge success and A Cavalier  a particular hit with both public and the critics; it played a considerable part in raising the critical estimation of Hals in England.  By 1888, when it was again exhibited at the Royal Academy, it had become ughing Cavalier, though a cleaning in the intervening period  may have changed the effect.  The critic in the Athenaeum noted a brighter appearance, but also that "The man smiles rather than laughs". Hertford's collection was bequeathed to his natural son Sir Richard Wallace Bt., whose widow donated it and his London house to the nation as the Wallace Collection. 	The "eyes following you round the room" trope has long been a stand-by in British comedy, used by Pete and Dud in The Art Gallery, among many others, sometimes in the form of a portrait with cut-away eyes that can be used as a peephole.

Prompt: 微笑む騎士 (ハルスの絵画)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

微笑む騎士 (ハルスの絵画)

The painting's provenance only goes back to a sale in The Hague in 1770; after further Dutch sales it was bought by the Franco-Swiss banker and collector the Comte de Pourtalès-Gorgier in 1822.  After his death the painting was acquired at the auction of his collection in Paris in 1865 by Richard Seymour-Conway, 4th Marquess of Hertford, who outbid Baron James de Rothschild at more than six times the sales estimate.  It was in Hertford's Paris home in 1871, listed as portrait d'un homme , and then brought to London, probably for the purpose of exhibiting it in a large and long loan exhibition of old master paintings at Bethnal Green, which was deliberately sited away from the West End of London to attract the working classes.  The exhibition was a huge success and A Cavalier  a particular hit with both public and the critics; it played a considerable part in raising the critical estimation of Hals in England.  By 1888, when it was again exhibited at the Royal Academy, it had become ughing Cavalier, though a cleaning in the intervening period  may have changed the effect.  The critic in the Athenaeum noted a brighter appearance, but also that "The man smiles rather than laughs". Hertford's collection was bequeathed to his natural son Sir Richard Wallace Bt., whose widow donated it and his London house to the nation as the Wallace Collection. 	The "eyes following you round the room" trope has long been a stand-by in British comedy, used by Pete and Dud in The Art Gallery, among many others, sometimes in the form of a portrait with cut-away eyes that can be used as a peephole.

Prompt: 微笑む騎士 (ハルスの絵画)の歴史を説明してください。英語で出力して下さい。


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微笑む騎士 (ハルスの絵画)

The painting's provenance only goes back to a sale in The Hague in 1770; after further Dutch sales it was bought by the Franco-Swiss banker and collector the Comte de Pourtalès-Gorgier in 1822.  After his death the painting was acquired at the auction of his collection in Paris in 1865 by Richard Seymour-Conway, 4th Marquess of Hertford, who outbid Baron James de Rothschild at more than six times the sales estimate.  It was in Hertford's Paris home in 1871, listed as portrait d'un homme , and then brought to London, probably for the purpose of exhibiting it in a large and long loan exhibition of old master paintings at Bethnal Green, which was deliberately sited away from the West End of London to attract the working classes.  The exhibition was a huge success and A Cavalier  a particular hit with both public and the critics; it played a considerable part in raising the critical estimation of Hals in England.  By 1888, when it was again exhibited at the Royal Academy, it had become ughing Cavalier, though a cleaning in the intervening period  may have changed the effect.  The critic in the Athenaeum noted a brighter appearance, but also that "The man smiles rather than laughs". Hertford's collection was bequeathed to his natural son Sir Richard Wallace Bt., whose widow donated it and his London house to the nation as the Wallace Collection. 	The "eyes following you round the room" trope has long been a stand-by in British comedy, used by Pete and Dud in The Art Gallery, among many others, sometimes in the form of a portrait with cut-away eyes that can be used as a peephole.

Prompt: 微笑む騎士 (ハルスの絵画)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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微笑む騎士 (ハルスの絵画)

The painting's provenance only goes back to a sale in The Hague in 1770; after further Dutch sales it was bought by the Franco-Swiss banker and collector the Comte de Pourtalès-Gorgier in 1822.  After his death the painting was acquired at the auction of his collection in Paris in 1865 by Richard Seymour-Conway, 4th Marquess of Hertford, who outbid Baron James de Rothschild at more than six times the sales estimate.  It was in Hertford's Paris home in 1871, listed as portrait d'un homme , and then brought to London, probably for the purpose of exhibiting it in a large and long loan exhibition of old master paintings at Bethnal Green, which was deliberately sited away from the West End of London to attract the working classes.  The exhibition was a huge success and A Cavalier  a particular hit with both public and the critics; it played a considerable part in raising the critical estimation of Hals in England.  By 1888, when it was again exhibited at the Royal Academy, it had become ughing Cavalier, though a cleaning in the intervening period  may have changed the effect.  The critic in the Athenaeum noted a brighter appearance, but also that "The man smiles rather than laughs". Hertford's collection was bequeathed to his natural son Sir Richard Wallace Bt., whose widow donated it and his London house to the nation as the Wallace Collection. 	The "eyes following you round the room" trope has long been a stand-by in British comedy, used by Pete and Dud in The Art Gallery, among many others, sometimes in the form of a portrait with cut-away eyes that can be used as a peephole.

Prompt: 微笑む騎士 (ハルスの絵画)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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微笑む騎士 (ハルスの絵画)

The ughing Cavalier is used by McEwan's beer as its logo. It has been modified showing the ughing Cavalier enjoying the beer.In the Scarlet Pimpernel adventure series by Emma Orczy, The ughing Cavalier is a prequel recounting the story of the supposed subject of the painting, who is an ancestor of her main hero, the Scarlet Pimpernel, Sir Percy Blakeney.The ughing Cavalier features in The Case Of The Mirror Of Portugal, episode six of the TV series The Rivals Of Sherlock Holmes.Television series The Monkees features an episode  that revolves around the painting and a modified copy as a plot device.A small copy of “ughing Cavalier” can be seen hanging on a wall in the Harris home in the 1959 murder mystery film “Sapphire”

Prompt: 微笑む騎士 (ハルスの絵画)に焦点を当てて、そのデリバティブを説明してください。英語で出力して下さい。


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微笑む騎士 (ハルスの絵画)

The ughing Cavalier is used by McEwan's beer as its logo. It has been modified showing the ughing Cavalier enjoying the beer.In the Scarlet Pimpernel adventure series by Emma Orczy, The ughing Cavalier is a prequel recounting the story of the supposed subject of the painting, who is an ancestor of her main hero, the Scarlet Pimpernel, Sir Percy Blakeney.The ughing Cavalier features in The Case Of The Mirror Of Portugal, episode six of the TV series The Rivals Of Sherlock Holmes.Television series The Monkees features an episode  that revolves around the painting and a modified copy as a plot device.A small copy of “ughing Cavalier” can be seen hanging on a wall in the Harris home in the 1959 murder mystery film “Sapphire”

Prompt: 微笑む騎士 (ハルスの絵画)のデリバティブを説明してください。英語で出力して下さい。


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微笑む騎士 (ハルスの絵画)

The ughing Cavalier is used by McEwan's beer as its logo. It has been modified showing the ughing Cavalier enjoying the beer.In the Scarlet Pimpernel adventure series by Emma Orczy, The ughing Cavalier is a prequel recounting the story of the supposed subject of the painting, who is an ancestor of her main hero, the Scarlet Pimpernel, Sir Percy Blakeney.The ughing Cavalier features in The Case Of The Mirror Of Portugal, episode six of the TV series The Rivals Of Sherlock Holmes.Television series The Monkees features an episode  that revolves around the painting and a modified copy as a plot device.A small copy of “ughing Cavalier” can be seen hanging on a wall in the Harris home in the 1959 murder mystery film “Sapphire”

Prompt: 微笑む騎士 (ハルスの絵画)はどのようにデリバティブを説明していますか？英語で出力して下さい。


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微笑む騎士 (ハルスの絵画)

The ughing Cavalier is used by McEwan's beer as its logo. It has been modified showing the ughing Cavalier enjoying the beer.In the Scarlet Pimpernel adventure series by Emma Orczy, The ughing Cavalier is a prequel recounting the story of the supposed subject of the painting, who is an ancestor of her main hero, the Scarlet Pimpernel, Sir Percy Blakeney.The ughing Cavalier features in The Case Of The Mirror Of Portugal, episode six of the TV series The Rivals Of Sherlock Holmes.Television series The Monkees features an episode  that revolves around the painting and a modified copy as a plot device.A small copy of “ughing Cavalier” can be seen hanging on a wall in the Harris home in the 1959 murder mystery film “Sapphire”

Prompt: 微笑む騎士 (ハルスの絵画)に関して、どのようにデリバティブが議論されていますか？英語で出力して下さい。


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微笑む騎士 (ハルスの絵画)

Prompt: 微笑む騎士 (ハルスの絵画)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。

Frans Hals
List of paintings by Frans Hals


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微笑む騎士 (ハルスの絵画)

Prompt: 微笑む騎士 (ハルスの絵画)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


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微笑む騎士 (ハルスの絵画)

Prompt: 微笑む騎士 (ハルスの絵画)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。

Frans Hals
List of paintings by Frans Hals


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微笑む騎士 (ハルスの絵画)

Prompt: 微笑む騎士 (ハルスの絵画)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。

Frans Hals
List of paintings by Frans Hals


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微笑む騎士 (ハルスの絵画)

and Quentin Buvelot , Dutch Portraits, The Age of Rembrandt and Frans Hals, 2007, Mauritshuis/National Gallery/Waanders Publishers, Zwolle, Ingamells, John, The Wallace Collection, Catalogue of Pictures, Vol IV, Dutch and Flemish, Wallace Collection, 1992, Middelkoop, Norbert; Van Grevenstein-Kruse, Anne, Frans Hals: life, work, restoration, 1989, Uniepers/Frans Halsmuseum/Alan Sutton Publishing, Seymour Slive, Dutch Painting, 1600–1800, Yale UP, 1995,

Prompt: 微笑む騎士 (ハルスの絵画)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。

Frans Hals
Rembrandt
Seymour Slive
Wallace Collection
Zwolle


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微笑む騎士 (ハルスの絵画)

and Quentin Buvelot , Dutch Portraits, The Age of Rembrandt and Frans Hals, 2007, Mauritshuis/National Gallery/Waanders Publishers, Zwolle, Ingamells, John, The Wallace Collection, Catalogue of Pictures, Vol IV, Dutch and Flemish, Wallace Collection, 1992, Middelkoop, Norbert; Van Grevenstein-Kruse, Anne, Frans Hals: life, work, restoration, 1989, Uniepers/Frans Halsmuseum/Alan Sutton Publishing, Seymour Slive, Dutch Painting, 1600–1800, Yale UP, 1995,

Prompt: 微笑む騎士 (ハルスの絵画)の参考文献を説明してください。英語で出力して下さい。

Frans Hals
Rembrandt
Seymour Slive
Wallace Collection
Zwolle


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微笑む騎士 (ハルスの絵画)

and Quentin Buvelot , Dutch Portraits, The Age of Rembrandt and Frans Hals, 2007, Mauritshuis/National Gallery/Waanders Publishers, Zwolle, Ingamells, John, The Wallace Collection, Catalogue of Pictures, Vol IV, Dutch and Flemish, Wallace Collection, 1992, Middelkoop, Norbert; Van Grevenstein-Kruse, Anne, Frans Hals: life, work, restoration, 1989, Uniepers/Frans Halsmuseum/Alan Sutton Publishing, Seymour Slive, Dutch Painting, 1600–1800, Yale UP, 1995,

Prompt: 微笑む騎士 (ハルスの絵画)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。

Frans Hals
Rembrandt
Seymour Slive
Wallace Collection
Zwolle


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微笑む騎士 (ハルスの絵画)

and Quentin Buvelot , Dutch Portraits, The Age of Rembrandt and Frans Hals, 2007, Mauritshuis/National Gallery/Waanders Publishers, Zwolle, Ingamells, John, The Wallace Collection, Catalogue of Pictures, Vol IV, Dutch and Flemish, Wallace Collection, 1992, Middelkoop, Norbert; Van Grevenstein-Kruse, Anne, Frans Hals: life, work, restoration, 1989, Uniepers/Frans Halsmuseum/Alan Sutton Publishing, Seymour Slive, Dutch Painting, 1600–1800, Yale UP, 1995,

Prompt: 微笑む騎士 (ハルスの絵画)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。

Frans Hals
Rembrandt
Seymour Slive
Wallace Collection
Zwolle


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微笑む騎士 (ハルスの絵画)

Category:1624 paintingsCategory:Portraits by Frans Halscategory:Portraits of men

Prompt: 微笑む騎士 (ハルスの絵画)に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


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微笑む騎士 (ハルスの絵画)

Category:1624 paintingsCategory:Portraits by Frans Halscategory:Portraits of men

Prompt: 微笑む騎士 (ハルスの絵画)の外部リンクを説明してください。英語で出力して下さい。


section

微笑む騎士 (ハルスの絵画)

Category:1624 paintingsCategory:Portraits by Frans Halscategory:Portraits of men

Prompt: 微笑む騎士 (ハルスの絵画)はどのように外部リンクを説明していますか？英語で出力して下さい。


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微笑む騎士 (ハルスの絵画)

Category:1624 paintingsCategory:Portraits by Frans Halscategory:Portraits of men

Prompt: 微笑む騎士 (ハルスの絵画)に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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ザ・スフィア

The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Prompt: ザ・スフィアに焦点を当てて、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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ザ・スフィア

The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Prompt: ザ・スフィア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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ザ・スフィア

The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Prompt: ザ・スフィアはどのように抽象を説明していますか？英語で出力して下さい。


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ザ・スフィア

The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Prompt: ザ・スフィアに関して、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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ザ・スフィア

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Prompt: ザ・スフィアに焦点を当てて、そのアートワークを説明してください。英語で出力して下さい。