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総督レオナルド・ロレダンの肖像

artist = Giovanni Bellini year =  medium = Oil on poplar panel movement = High Renaissance subject = Leonardo Loredan height_metric = 61.6 width_metric = 45.1 metric_unit = cm museum = National Gallery city = London}}The Portrait of Doge Leonardo Loredan  is a painting by Italian Renaissance master Giovanni Bellini, dating from . It portrays Leonardo Loredan, the Doge of Venice from 1501 to 1521, in his ceremonial garments with the corno ducale worn over a linen cap, and is signed  on a cartellino . It is on display in the National Gallery in London.

Prompt: 総督レオナルド・ロレダンの肖像はどのように抽象を説明していますか？英語で出力して下さい。

Doge of Venice
Giovanni Bellini
Italian Renaissance
Leonardo Loredan
London
National Gallery


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総督レオナルド・ロレダンの肖像

artist = Giovanni Bellini year =  medium = Oil on poplar panel movement = High Renaissance subject = Leonardo Loredan height_metric = 61.6 width_metric = 45.1 metric_unit = cm museum = National Gallery city = London}}The Portrait of Doge Leonardo Loredan  is a painting by Italian Renaissance master Giovanni Bellini, dating from . It portrays Leonardo Loredan, the Doge of Venice from 1501 to 1521, in his ceremonial garments with the corno ducale worn over a linen cap, and is signed  on a cartellino . It is on display in the National Gallery in London.

Prompt: 総督レオナルド・ロレダンの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Doge of Venice
Giovanni Bellini
Italian Renaissance
Leonardo Loredan
London
National Gallery


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総督レオナルド・ロレダンの肖像

This formal portrait depicts Leonardo Loredan in his official state robes as Doge of Venice, with its ornate buttons. The distinctively shaped hat is derived from the hood of a doublet.John Pope-Hennessy described Bellini as "by far the greatest fifteenth-century official portraitist", adding that "the tendency towards ideality that impairs his private portraits here stood him in good stead, and enabled  him to codify, with unwavering conviction, the official personality".

Prompt: 総督レオナルド・ロレダンの肖像に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Doge of Venice
John Pope-Hennessy
Leonardo Loredan


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総督レオナルド・ロレダンの肖像

This formal portrait depicts Leonardo Loredan in his official state robes as Doge of Venice, with its ornate buttons. The distinctively shaped hat is derived from the hood of a doublet.John Pope-Hennessy described Bellini as "by far the greatest fifteenth-century official portraitist", adding that "the tendency towards ideality that impairs his private portraits here stood him in good stead, and enabled  him to codify, with unwavering conviction, the official personality".

Prompt: 総督レオナルド・ロレダンの肖像の説明を説明してください。英語で出力して下さい。

Doge of Venice
John Pope-Hennessy
Leonardo Loredan


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総督レオナルド・ロレダンの肖像

This formal portrait depicts Leonardo Loredan in his official state robes as Doge of Venice, with its ornate buttons. The distinctively shaped hat is derived from the hood of a doublet.John Pope-Hennessy described Bellini as "by far the greatest fifteenth-century official portraitist", adding that "the tendency towards ideality that impairs his private portraits here stood him in good stead, and enabled  him to codify, with unwavering conviction, the official personality".

Prompt: 総督レオナルド・ロレダンの肖像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。

Doge of Venice
John Pope-Hennessy
Leonardo Loredan


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総督レオナルド・ロレダンの肖像

This formal portrait depicts Leonardo Loredan in his official state robes as Doge of Venice, with its ornate buttons. The distinctively shaped hat is derived from the hood of a doublet.John Pope-Hennessy described Bellini as "by far the greatest fifteenth-century official portraitist", adding that "the tendency towards ideality that impairs his private portraits here stood him in good stead, and enabled  him to codify, with unwavering conviction, the official personality".

Prompt: 総督レオナルド・ロレダンの肖像に関して、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。

Doge of Venice
John Pope-Hennessy
Leonardo Loredan


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総督レオナルド・ロレダンの肖像

The painting would initially have been in Venice and was probably looted when Napoleon conquered the city. It was bought in 1807 for thirteen guineas by William Thomas Beckford, who in 1844 sold it to the National Gallery for £630 .

Prompt: 総督レオナルド・ロレダンの肖像に焦点を当てて、その起源を説明してください。英語で出力して下さい。


section

総督レオナルド・ロレダンの肖像

The painting would initially have been in Venice and was probably looted when Napoleon conquered the city. It was bought in 1807 for thirteen guineas by William Thomas Beckford, who in 1844 sold it to the National Gallery for £630 .

Prompt: 総督レオナルド・ロレダンの肖像の起源を説明してください。英語で出力して下さい。


section

総督レオナルド・ロレダンの肖像

The painting would initially have been in Venice and was probably looted when Napoleon conquered the city. It was bought in 1807 for thirteen guineas by William Thomas Beckford, who in 1844 sold it to the National Gallery for £630 .

Prompt: 総督レオナルド・ロレダンの肖像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

総督レオナルド・ロレダンの肖像

The painting would initially have been in Venice and was probably looted when Napoleon conquered the city. It was bought in 1807 for thirteen guineas by William Thomas Beckford, who in 1844 sold it to the National Gallery for £630 .

Prompt: 総督レオナルド・ロレダンの肖像に関して、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

総督レオナルド・ロレダンの肖像

Prompt: 総督レオナルド・ロレダンの肖像に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


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総督レオナルド・ロレダンの肖像

Prompt: 総督レオナルド・ロレダンの肖像のさらなる読書を説明してください。英語で出力して下さい。


section

総督レオナルド・ロレダンの肖像

Prompt: 総督レオナルド・ロレダンの肖像はどのようにさらなる読書を説明していますか？英語で出力して下さい。


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総督レオナルド・ロレダンの肖像

Prompt: 総督レオナルド・ロレダンの肖像に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


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総督レオナルド・ロレダンの肖像

Loredan, LeonardoLoredan, LeonardoCategory:Portraits of menCategory:Paintings in the National Gallery, LondonCategory:1501 paintings

Prompt: 総督レオナルド・ロレダンの肖像に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


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総督レオナルド・ロレダンの肖像

Loredan, LeonardoLoredan, LeonardoCategory:Portraits of menCategory:Paintings in the National Gallery, LondonCategory:1501 paintings

Prompt: 総督レオナルド・ロレダンの肖像の外部リンクを説明してください。英語で出力して下さい。


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総督レオナルド・ロレダンの肖像

Loredan, LeonardoLoredan, LeonardoCategory:Portraits of menCategory:Paintings in the National Gallery, LondonCategory:1501 paintings

Prompt: 総督レオナルド・ロレダンの肖像はどのように外部リンクを説明していますか？英語で出力して下さい。


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総督レオナルド・ロレダンの肖像

Loredan, LeonardoLoredan, LeonardoCategory:Portraits of menCategory:Paintings in the National Gallery, LondonCategory:1501 paintings

Prompt: 総督レオナルド・ロレダンの肖像に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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太陽系儀の講義

since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.In both of these works, the candlelit setting had a realist justification. Viewing sculpture by candlelight, when the contours showed well, and there might even be an impression of movement from the flickering light, was a fashionable practice described by Goethe. In the orrery demonstration the shadows cast by the lamp representing the sun were an essential part of the display. But there seems no reason other than heightened drama to stage the air pump experiment in a room lit by a single candle, and in two later paintings of the subject by Charles-Amédée-Philippe van Loo the lighting is normal.

Prompt: 太陽系儀の講義に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

太陽系儀の講義

since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.In both of these works, the candlelit setting had a realist justification. Viewing sculpture by candlelight, when the contours showed well, and there might even be an impression of movement from the flickering light, was a fashionable practice described by Goethe. In the orrery demonstration the shadows cast by the lamp representing the sun were an essential part of the display. But there seems no reason other than heightened drama to stage the air pump experiment in a room lit by a single candle, and in two later paintings of the subject by Charles-Amédée-Philippe van Loo the lighting is normal.

Prompt: 太陽系儀の講義の抽象を説明してください。英語で出力して下さい。


section

太陽系儀の講義

since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.In both of these works, the candlelit setting had a realist justification. Viewing sculpture by candlelight, when the contours showed well, and there might even be an impression of movement from the flickering light, was a fashionable practice described by Goethe. In the orrery demonstration the shadows cast by the lamp representing the sun were an essential part of the display. But there seems no reason other than heightened drama to stage the air pump experiment in a room lit by a single candle, and in two later paintings of the subject by Charles-Amédée-Philippe van Loo the lighting is normal.

Prompt: 太陽系儀の講義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

太陽系儀の講義

since to Wright the marvels of the technological age were as awe-inspiring as the subjects of the great religious paintings.In both of these works, the candlelit setting had a realist justification. Viewing sculpture by candlelight, when the contours showed well, and there might even be an impression of movement from the flickering light, was a fashionable practice described by Goethe. In the orrery demonstration the shadows cast by the lamp representing the sun were an essential part of the display. But there seems no reason other than heightened drama to stage the air pump experiment in a room lit by a single candle, and in two later paintings of the subject by Charles-Amédée-Philippe van Loo the lighting is normal.

Prompt: 太陽系儀の講義に関して、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

太陽系儀の講義

The painting was one of a number of British works challenging the set categories of the rigid, French-dictated, hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject. In some respects the Orrery and Air Pump subjects resembled conversation pieces, then largely a form of middle-class portraiture, though soon to be given new status when Johann Zoffany began to paint the royal family in about 1766. Given their solemn atmosphere however, and as it seems none of the figures are intended to be understood as portraits , the paintings can not be regarded as conversation pieces. The 20th-century art historian Ellis Waterhouse compares these two works to the "genre serieux" of contemporary French drama, as defined by Denis Diderot and Pierre Beaumarchais, a view endorsed by Egerton.An anonymous review from the time called Wright "a very great and uncommon genius in a peculiar way".

Prompt: 太陽系儀の講義に焦点を当てて、その文脈を説明してください。英語で出力して下さい。

Denis Diderot
Ellis Waterhouse
Orrery
Pierre Beaumarchais


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太陽系儀の講義

The painting was one of a number of British works challenging the set categories of the rigid, French-dictated, hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject. In some respects the Orrery and Air Pump subjects resembled conversation pieces, then largely a form of middle-class portraiture, though soon to be given new status when Johann Zoffany began to paint the royal family in about 1766. Given their solemn atmosphere however, and as it seems none of the figures are intended to be understood as portraits , the paintings can not be regarded as conversation pieces. The 20th-century art historian Ellis Waterhouse compares these two works to the "genre serieux" of contemporary French drama, as defined by Denis Diderot and Pierre Beaumarchais, a view endorsed by Egerton.An anonymous review from the time called Wright "a very great and uncommon genius in a peculiar way".

Prompt: 太陽系儀の講義の文脈を説明してください。英語で出力して下さい。

Denis Diderot
Ellis Waterhouse
Orrery
Pierre Beaumarchais


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太陽系儀の講義

The painting was one of a number of British works challenging the set categories of the rigid, French-dictated, hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject. In some respects the Orrery and Air Pump subjects resembled conversation pieces, then largely a form of middle-class portraiture, though soon to be given new status when Johann Zoffany began to paint the royal family in about 1766. Given their solemn atmosphere however, and as it seems none of the figures are intended to be understood as portraits , the paintings can not be regarded as conversation pieces. The 20th-century art historian Ellis Waterhouse compares these two works to the "genre serieux" of contemporary French drama, as defined by Denis Diderot and Pierre Beaumarchais, a view endorsed by Egerton.An anonymous review from the time called Wright "a very great and uncommon genius in a peculiar way".

Prompt: 太陽系儀の講義はどのように文脈を説明していますか？英語で出力して下さい。

Denis Diderot
Ellis Waterhouse
Orrery
Pierre Beaumarchais


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太陽系儀の講義

The painting was one of a number of British works challenging the set categories of the rigid, French-dictated, hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject. In some respects the Orrery and Air Pump subjects resembled conversation pieces, then largely a form of middle-class portraiture, though soon to be given new status when Johann Zoffany began to paint the royal family in about 1766. Given their solemn atmosphere however, and as it seems none of the figures are intended to be understood as portraits , the paintings can not be regarded as conversation pieces. The 20th-century art historian Ellis Waterhouse compares these two works to the "genre serieux" of contemporary French drama, as defined by Denis Diderot and Pierre Beaumarchais, a view endorsed by Egerton.An anonymous review from the time called Wright "a very great and uncommon genius in a peculiar way".

Prompt: 太陽系儀の講義に関して、どのように文脈が議論されていますか？英語で出力して下さい。

Denis Diderot
Ellis Waterhouse
Orrery
Pierre Beaumarchais


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太陽系儀の講義

The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, a British Royal Navy officer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with a youth next to the orrery.Ferrers purchased the painting, which was exhibited in 1766, for £210, but the 6th Earl auctioned it off, and it is now in the Derby Museum and Art Gallery, where it is on permanent display, close to a working replica of a full-sized mechanical Grand Orrery.A biographer of Wright, Benedict Nicolson, argued in 1968 that John Whitehurst was the model for the lecturer, while another commentator points out the figure's resemblance to "a painting of Isaac Newton by Godfrey Kneller". Close observation of the adult faces in the picture reveals that each one demonstrates one or other of the main phases of the Moon – new moon, half moon, gibbous moon and full moon. Jonathan Powers, in The Philosopher Lecturing on the Orrery, claims that 'the Philosopher' was John Arden, a scholar and lecturer best known for teaching the young Mary Wollstonecraft.A working reconstruction of the grand orrery depicted in Joseph Wright's painting was commissioned by Derby Museums in 1993. It was built by clock and orrery-maker, John Gleave, and is displayed alongside the original work in the museum's art gallery.

Prompt: 太陽系儀の講義に焦点を当てて、その来歴、肖像画を説明してください。英語で出力して下さい。

Benedict Nicolson
Derby
Derby Museum and Art Gallery
Derbyshire
Earl Ferrers
Godfrey Kneller
Isaac Newton
John Whitehurst
Mary Wollstonecraft
Orrery
Peter Perez Burdett
Washington Shirley, 5th Earl Ferrers


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太陽系儀の講義

The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, a British Royal Navy officer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with a youth next to the orrery.Ferrers purchased the painting, which was exhibited in 1766, for £210, but the 6th Earl auctioned it off, and it is now in the Derby Museum and Art Gallery, where it is on permanent display, close to a working replica of a full-sized mechanical Grand Orrery.A biographer of Wright, Benedict Nicolson, argued in 1968 that John Whitehurst was the model for the lecturer, while another commentator points out the figure's resemblance to "a painting of Isaac Newton by Godfrey Kneller". Close observation of the adult faces in the picture reveals that each one demonstrates one or other of the main phases of the Moon – new moon, half moon, gibbous moon and full moon. Jonathan Powers, in The Philosopher Lecturing on the Orrery, claims that 'the Philosopher' was John Arden, a scholar and lecturer best known for teaching the young Mary Wollstonecraft.A working reconstruction of the grand orrery depicted in Joseph Wright's painting was commissioned by Derby Museums in 1993. It was built by clock and orrery-maker, John Gleave, and is displayed alongside the original work in the museum's art gallery.

Prompt: 太陽系儀の講義の来歴、肖像画を説明してください。英語で出力して下さい。

Benedict Nicolson
Derby
Derby Museum and Art Gallery
Derbyshire
Earl Ferrers
Godfrey Kneller
Isaac Newton
John Whitehurst
Mary Wollstonecraft
Orrery
Peter Perez Burdett
Washington Shirley, 5th Earl Ferrers


section

太陽系儀の講義

The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, a British Royal Navy officer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with a youth next to the orrery.Ferrers purchased the painting, which was exhibited in 1766, for £210, but the 6th Earl auctioned it off, and it is now in the Derby Museum and Art Gallery, where it is on permanent display, close to a working replica of a full-sized mechanical Grand Orrery.A biographer of Wright, Benedict Nicolson, argued in 1968 that John Whitehurst was the model for the lecturer, while another commentator points out the figure's resemblance to "a painting of Isaac Newton by Godfrey Kneller". Close observation of the adult faces in the picture reveals that each one demonstrates one or other of the main phases of the Moon – new moon, half moon, gibbous moon and full moon. Jonathan Powers, in The Philosopher Lecturing on the Orrery, claims that 'the Philosopher' was John Arden, a scholar and lecturer best known for teaching the young Mary Wollstonecraft.A working reconstruction of the grand orrery depicted in Joseph Wright's painting was commissioned by Derby Museums in 1993. It was built by clock and orrery-maker, John Gleave, and is displayed alongside the original work in the museum's art gallery.

Prompt: 太陽系儀の講義はどのように来歴、肖像画を説明していますか？英語で出力して下さい。

Benedict Nicolson
Derby
Derby Museum and Art Gallery
Derbyshire
Earl Ferrers
Godfrey Kneller
Isaac Newton
John Whitehurst
Mary Wollstonecraft
Orrery
Peter Perez Burdett
Washington Shirley, 5th Earl Ferrers


section

太陽系儀の講義

The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, a British Royal Navy officer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with a youth next to the orrery.Ferrers purchased the painting, which was exhibited in 1766, for £210, but the 6th Earl auctioned it off, and it is now in the Derby Museum and Art Gallery, where it is on permanent display, close to a working replica of a full-sized mechanical Grand Orrery.A biographer of Wright, Benedict Nicolson, argued in 1968 that John Whitehurst was the model for the lecturer, while another commentator points out the figure's resemblance to "a painting of Isaac Newton by Godfrey Kneller". Close observation of the adult faces in the picture reveals that each one demonstrates one or other of the main phases of the Moon – new moon, half moon, gibbous moon and full moon. Jonathan Powers, in The Philosopher Lecturing on the Orrery, claims that 'the Philosopher' was John Arden, a scholar and lecturer best known for teaching the young Mary Wollstonecraft.A working reconstruction of the grand orrery depicted in Joseph Wright's painting was commissioned by Derby Museums in 1993. It was built by clock and orrery-maker, John Gleave, and is displayed alongside the original work in the museum's art gallery.

Prompt: 太陽系儀の講義に関して、どのように来歴、肖像画が議論されていますか？英語で出力して下さい。

Benedict Nicolson
Derby
Derby Museum and Art Gallery
Derbyshire
Earl Ferrers
Godfrey Kneller
Isaac Newton
John Whitehurst
Mary Wollstonecraft
Orrery
Peter Perez Burdett
Washington Shirley, 5th Earl Ferrers


section

太陽系儀の講義

Egerton, Judy , National Gallery Catalogues : The British School. catalogue entry pp. 332–343, Waterhouse, Ellis,  Painting in Britain, 1530–1790. Penguin Books ,

Prompt: 太陽系儀の講義に焦点を当てて、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

太陽系儀の講義

Egerton, Judy , National Gallery Catalogues : The British School. catalogue entry pp. 332–343, Waterhouse, Ellis,  Painting in Britain, 1530–1790. Penguin Books ,

Prompt: 太陽系儀の講義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

太陽系儀の講義

Egerton, Judy , National Gallery Catalogues : The British School. catalogue entry pp. 332–343, Waterhouse, Ellis,  Painting in Britain, 1530–1790. Penguin Books ,

Prompt: 太陽系儀の講義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

太陽系儀の講義

Egerton, Judy , National Gallery Catalogues : The British School. catalogue entry pp. 332–343, Waterhouse, Ellis,  Painting in Britain, 1530–1790. Penguin Books ,

Prompt: 太陽系儀の講義に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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雲海の上の旅人

medium             = Oil on canvas height_metric      = 94.8 width_metric       = 74.8 museum             = Hamburger Kunsthalle city               = Hamburg}}Wanderer above the Sea of Fog</ref> and other variants;  in German}} is a painting by German Romanticist artist Caspar David Friedrich made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.It has been considered one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur  in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s; Wanderer became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of Wilhelm August Luz in Berlin, and in 1970, it was acquired by the Hamburger Kunsthalle in Hamburg, Germany, where it has been displayed ever since.

Prompt: 雲海の上の旅人に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Caspar David Friedrich
Germany
Hamburg
Hamburger Kunsthalle
Rückenfigur


section

雲海の上の旅人

medium             = Oil on canvas height_metric      = 94.8 width_metric       = 74.8 museum             = Hamburger Kunsthalle city               = Hamburg}}Wanderer above the Sea of Fog</ref> and other variants;  in German}} is a painting by German Romanticist artist Caspar David Friedrich made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.It has been considered one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur  in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s; Wanderer became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of Wilhelm August Luz in Berlin, and in 1970, it was acquired by the Hamburger Kunsthalle in Hamburg, Germany, where it has been displayed ever since.

Prompt: 雲海の上の旅人の抽象を説明してください。英語で出力して下さい。

Caspar David Friedrich
Germany
Hamburg
Hamburger Kunsthalle
Rückenfigur


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雲海の上の旅人

medium             = Oil on canvas height_metric      = 94.8 width_metric       = 74.8 museum             = Hamburger Kunsthalle city               = Hamburg}}Wanderer above the Sea of Fog</ref> and other variants;  in German}} is a painting by German Romanticist artist Caspar David Friedrich made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.It has been considered one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur  in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s; Wanderer became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of Wilhelm August Luz in Berlin, and in 1970, it was acquired by the Hamburger Kunsthalle in Hamburg, Germany, where it has been displayed ever since.

Prompt: 雲海の上の旅人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。

Caspar David Friedrich
Germany
Hamburg
Hamburger Kunsthalle
Rückenfigur


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雲海の上の旅人

medium             = Oil on canvas height_metric      = 94.8 width_metric       = 74.8 museum             = Hamburger Kunsthalle city               = Hamburg}}Wanderer above the Sea of Fog</ref> and other variants;  in German}} is a painting by German Romanticist artist Caspar David Friedrich made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.It has been considered one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur  in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s; Wanderer became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of Wilhelm August Luz in Berlin, and in 1970, it was acquired by the Hamburger Kunsthalle in Hamburg, Germany, where it has been displayed ever since.

Prompt: 雲海の上の旅人に関して、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。

Caspar David Friedrich
Germany
Hamburg
Hamburger Kunsthalle
Rückenfigur


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雲海の上の旅人

In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.The painting is composed of various elements from the Elbe Sandstone Mountains in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein.

Prompt: 雲海の上の旅人に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Bohemia
Elbe Sandstone Mountains
Saxony
Zirkelstein


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雲海の上の旅人

In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.The painting is composed of various elements from the Elbe Sandstone Mountains in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein.

Prompt: 雲海の上の旅人の説明を説明してください。英語で出力して下さい。

Bohemia
Elbe Sandstone Mountains
Saxony
Zirkelstein


section

雲海の上の旅人

In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.The painting is composed of various elements from the Elbe Sandstone Mountains in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein.

Prompt: 雲海の上の旅人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。

Bohemia
Elbe Sandstone Mountains
Saxony
Zirkelstein


section

雲海の上の旅人

In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.The painting is composed of various elements from the Elbe Sandstone Mountains in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein.

Prompt: 雲海の上の旅人に関して、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。

Bohemia
Elbe Sandstone Mountains
Saxony
Zirkelstein


section

雲海の上の旅人

The date of creation of Wanderer is generally given as 1818, although some sources indicate 1817. The provenance of the painting in the 19th century is unclear, but it came to the ownership of the gallery of Wilhelm August Luz in Berlin in 1939. It was then apparently sold to Ernst Henke, a German lawyer, before returning to the Luz gallery. The painting bounced between private collections before being acquired by the Hamburger Kunsthalle  in 1970, where it has been on display since.Notable events in Friedrich's life in 1817 and 1818 include him striking up a friendship with the scientist Carl Gustav Carus and the Norwegian painter Johan Christian Dahl in 1817, Friedrich marrying Caroline Brommer in January 1818, and the couple going on a honeymoon back to Friedrich's hometown of Greifswald for weeks after.

Prompt: 雲海の上の旅人に焦点を当てて、その創造と歴史を説明してください。英語で出力して下さい。

Carl Gustav Carus
Ernst Henke
Greifswald
Hamburg
Hamburger Kunsthalle
Johan Christian Dahl


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雲海の上の旅人

The date of creation of Wanderer is generally given as 1818, although some sources indicate 1817. The provenance of the painting in the 19th century is unclear, but it came to the ownership of the gallery of Wilhelm August Luz in Berlin in 1939. It was then apparently sold to Ernst Henke, a German lawyer, before returning to the Luz gallery. The painting bounced between private collections before being acquired by the Hamburger Kunsthalle  in 1970, where it has been on display since.Notable events in Friedrich's life in 1817 and 1818 include him striking up a friendship with the scientist Carl Gustav Carus and the Norwegian painter Johan Christian Dahl in 1817, Friedrich marrying Caroline Brommer in January 1818, and the couple going on a honeymoon back to Friedrich's hometown of Greifswald for weeks after.

Prompt: 雲海の上の旅人の創造と歴史を説明してください。英語で出力して下さい。

Carl Gustav Carus
Ernst Henke
Greifswald
Hamburg
Hamburger Kunsthalle
Johan Christian Dahl


section

雲海の上の旅人

The date of creation of Wanderer is generally given as 1818, although some sources indicate 1817. The provenance of the painting in the 19th century is unclear, but it came to the ownership of the gallery of Wilhelm August Luz in Berlin in 1939. It was then apparently sold to Ernst Henke, a German lawyer, before returning to the Luz gallery. The painting bounced between private collections before being acquired by the Hamburger Kunsthalle  in 1970, where it has been on display since.Notable events in Friedrich's life in 1817 and 1818 include him striking up a friendship with the scientist Carl Gustav Carus and the Norwegian painter Johan Christian Dahl in 1817, Friedrich marrying Caroline Brommer in January 1818, and the couple going on a honeymoon back to Friedrich's hometown of Greifswald for weeks after.

Prompt: 雲海の上の旅人はどのように創造と歴史を説明していますか？英語で出力して下さい。

Carl Gustav Carus
Ernst Henke
Greifswald
Hamburg
Hamburger Kunsthalle
Johan Christian Dahl


section

雲海の上の旅人

The date of creation of Wanderer is generally given as 1818, although some sources indicate 1817. The provenance of the painting in the 19th century is unclear, but it came to the ownership of the gallery of Wilhelm August Luz in Berlin in 1939. It was then apparently sold to Ernst Henke, a German lawyer, before returning to the Luz gallery. The painting bounced between private collections before being acquired by the Hamburger Kunsthalle  in 1970, where it has been on display since.Notable events in Friedrich's life in 1817 and 1818 include him striking up a friendship with the scientist Carl Gustav Carus and the Norwegian painter Johan Christian Dahl in 1817, Friedrich marrying Caroline Brommer in January 1818, and the couple going on a honeymoon back to Friedrich's hometown of Greifswald for weeks after.

Prompt: 雲海の上の旅人に関して、どのように創造と歴史が議論されていますか？英語で出力して下さい。

Carl Gustav Carus
Ernst Henke
Greifswald
Hamburg
Hamburger Kunsthalle
Johan Christian Dahl


section

雲海の上の旅人

Wanderer above the Sea of Fog is closely associated with Romanticism, a broad artistic and literary movement that emerged after the Age of Enlightenment. While the identity of the man is uncertain, some have suggested it is a self-portrait of the artist himself, pointing to similarities in appearance, such as the red hair, and for this reason the painting has been interpreted as an emblem of self-reflection or contemplation of life's path. On mist, he wrote "When a region cloaks itself in mist, it appears larger and more sublime, elevating the imagination, and rousing the expectations like a veiled girl."Friedrich criticized other artists of his day as painting overfilled "curiosity shops" that covered every part of the canvas with new features.  While Wanderer is detailed, it does not lose focus by including an array of geographic features, other people, or buildings; the work stays centered on the mountains and the mist, and lets the viewer's eye explore it at its own pace.

Prompt: 雲海の上の旅人に焦点を当てて、そのロマン主義を説明してください。英語で出力して下さい。


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雲海の上の旅人

Wanderer above the Sea of Fog is closely associated with Romanticism, a broad artistic and literary movement that emerged after the Age of Enlightenment. While the identity of the man is uncertain, some have suggested it is a self-portrait of the artist himself, pointing to similarities in appearance, such as the red hair, and for this reason the painting has been interpreted as an emblem of self-reflection or contemplation of life's path. On mist, he wrote "When a region cloaks itself in mist, it appears larger and more sublime, elevating the imagination, and rousing the expectations like a veiled girl."Friedrich criticized other artists of his day as painting overfilled "curiosity shops" that covered every part of the canvas with new features.  While Wanderer is detailed, it does not lose focus by including an array of geographic features, other people, or buildings; the work stays centered on the mountains and the mist, and lets the viewer's eye explore it at its own pace.

Prompt: 雲海の上の旅人のロマン主義を説明してください。英語で出力して下さい。


section

雲海の上の旅人

Wanderer above the Sea of Fog is closely associated with Romanticism, a broad artistic and literary movement that emerged after the Age of Enlightenment. While the identity of the man is uncertain, some have suggested it is a self-portrait of the artist himself, pointing to similarities in appearance, such as the red hair, and for this reason the painting has been interpreted as an emblem of self-reflection or contemplation of life's path. On mist, he wrote "When a region cloaks itself in mist, it appears larger and more sublime, elevating the imagination, and rousing the expectations like a veiled girl."Friedrich criticized other artists of his day as painting overfilled "curiosity shops" that covered every part of the canvas with new features.  While Wanderer is detailed, it does not lose focus by including an array of geographic features, other people, or buildings; the work stays centered on the mountains and the mist, and lets the viewer's eye explore it at its own pace.

Prompt: 雲海の上の旅人はどのようにロマン主義を説明していますか？英語で出力して下さい。


section

雲海の上の旅人

Wanderer above the Sea of Fog is closely associated with Romanticism, a broad artistic and literary movement that emerged after the Age of Enlightenment. While the identity of the man is uncertain, some have suggested it is a self-portrait of the artist himself, pointing to similarities in appearance, such as the red hair, and for this reason the painting has been interpreted as an emblem of self-reflection or contemplation of life's path. On mist, he wrote "When a region cloaks itself in mist, it appears larger and more sublime, elevating the imagination, and rousing the expectations like a veiled girl."Friedrich criticized other artists of his day as painting overfilled "curiosity shops" that covered every part of the canvas with new features.  While Wanderer is detailed, it does not lose focus by including an array of geographic features, other people, or buildings; the work stays centered on the mountains and the mist, and lets the viewer's eye explore it at its own pace.

Prompt: 雲海の上の旅人に関して、どのようにロマン主義が議論されていますか？英語で出力して下さい。


section

雲海の上の旅人

Traditional art standards hold that if people are present in a scene, they are turned toward the viewer or in profile. Exceptions exist but are generally for minor characters in a crowded scene. While Friedrich was not the first artist to use a Rückenfigur, he used such figures turned away from the viewer considerably more frequently and persistently than other artists.  The figure changes the sense and focus of the painting.  wrote that "It is harder to imagine this landscape without a figure than it is in any other painting."Other works of Friedrich's comparable to Wanderer with such a Rückenfigur motif include Woman at a Window, Two Men by the Sea at Moonrise, and Neubrandenburg.Wieland Schmied argues that Wanderer was a precursor to the surrealism of René Magritte; Friedrich included subtle incongruities in his work and seemingly impossible perspectives, as seen in Wanderer, and Magritte took such elements even further in his work.  The background of the picture seemingly plunges into the foreground, with the depth between them unclear.

Prompt: 雲海の上の旅人に焦点を当てて、そのルッケンフィギュア, 類似作品を説明してください。英語で出力して下さい。

René Magritte
Rückenfigur
Two Men by the Sea
Two Men by the Sea
Wieland Schmied
Woman at a Window


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雲海の上の旅人

Traditional art standards hold that if people are present in a scene, they are turned toward the viewer or in profile. Exceptions exist but are generally for minor characters in a crowded scene. While Friedrich was not the first artist to use a Rückenfigur, he used such figures turned away from the viewer considerably more frequently and persistently than other artists.  The figure changes the sense and focus of the painting.  wrote that "It is harder to imagine this landscape without a figure than it is in any other painting."Other works of Friedrich's comparable to Wanderer with such a Rückenfigur motif include Woman at a Window, Two Men by the Sea at Moonrise, and Neubrandenburg.Wieland Schmied argues that Wanderer was a precursor to the surrealism of René Magritte; Friedrich included subtle incongruities in his work and seemingly impossible perspectives, as seen in Wanderer, and Magritte took such elements even further in his work.  The background of the picture seemingly plunges into the foreground, with the depth between them unclear.

Prompt: 雲海の上の旅人のルッケンフィギュア, 類似作品を説明してください。英語で出力して下さい。

René Magritte
Rückenfigur
Two Men by the Sea
Two Men by the Sea
Wieland Schmied
Woman at a Window


section

雲海の上の旅人

Traditional art standards hold that if people are present in a scene, they are turned toward the viewer or in profile. Exceptions exist but are generally for minor characters in a crowded scene. While Friedrich was not the first artist to use a Rückenfigur, he used such figures turned away from the viewer considerably more frequently and persistently than other artists.  The figure changes the sense and focus of the painting.  wrote that "It is harder to imagine this landscape without a figure than it is in any other painting."Other works of Friedrich's comparable to Wanderer with such a Rückenfigur motif include Woman at a Window, Two Men by the Sea at Moonrise, and Neubrandenburg.Wieland Schmied argues that Wanderer was a precursor to the surrealism of René Magritte; Friedrich included subtle incongruities in his work and seemingly impossible perspectives, as seen in Wanderer, and Magritte took such elements even further in his work.  The background of the picture seemingly plunges into the foreground, with the depth between them unclear.

Prompt: 雲海の上の旅人はどのようにルッケンフィギュア, 類似作品を説明していますか？英語で出力して下さい。

René Magritte
Rückenfigur
Two Men by the Sea
Two Men by the Sea
Wieland Schmied
Woman at a Window


section

雲海の上の旅人

Traditional art standards hold that if people are present in a scene, they are turned toward the viewer or in profile. Exceptions exist but are generally for minor characters in a crowded scene. While Friedrich was not the first artist to use a Rückenfigur, he used such figures turned away from the viewer considerably more frequently and persistently than other artists.  The figure changes the sense and focus of the painting.  wrote that "It is harder to imagine this landscape without a figure than it is in any other painting."Other works of Friedrich's comparable to Wanderer with such a Rückenfigur motif include Woman at a Window, Two Men by the Sea at Moonrise, and Neubrandenburg.Wieland Schmied argues that Wanderer was a precursor to the surrealism of René Magritte; Friedrich included subtle incongruities in his work and seemingly impossible perspectives, as seen in Wanderer, and Magritte took such elements even further in his work.  The background of the picture seemingly plunges into the foreground, with the depth between them unclear.

Prompt: 雲海の上の旅人に関して、どのようにルッケンフィギュア, 類似作品が議論されていますか？英語で出力して下さい。

René Magritte
Rückenfigur
Two Men by the Sea
Two Men by the Sea
Wieland Schmied
Woman at a Window


section

雲海の上の旅人

Friedrich was an outspoken supporter of German liberal and nationalist feeling. The old German princely states were disrupted and saw their authority compromised in the wake of the Napoleonic Wars of 1803–1815. German nationalists advocated for the Unification of Germany and the abolition of the conservative German nobility and leadership of the German Confederation. One of the ways German liberals identified themselves and showed their support was a fashion trend: Altdeutsche  outfits, a restoration of a heroic unified German past of the 1500s–1600s and the age of Martin Luther.  Nationalists such as Friedrich thus identified themselves with restoring a lost national greatness. The art historian Norbert Wolf, following Koerner and others, has stated that the figure in Wanderer above the Sea of Fog wears just such an Altdeutsche outfit, a political statement in the era when the painting was created. Other scholars have described the figure's clothing as a Jäger infantry uniform.  Another potential link was how Friedrich met and befriended the scientist and fellow painter Carl Gustav Carus in 1817 just before he would have been preparing and painting Wanderer. Art historian Joseph Koerner notes that Carus wrote on a particular verse in the Luther Bible: Luther translated the account of God's creation of Earth in the Book of Genesis 2:6 as  .  Carus argued the fog was God's assistant in the Creation, turning barren mountains into verdant forests. Koerner hypothesizes that Carus and Friedrich could have discussed the matter in the course of their friendship. He sees that Wanderer could well be depicting a Creation-esque scene: the figure views a land of unknown possibility, hidden in the mist, emerging from the heart as an emanation from the "I"

Prompt: 雲海の上の旅人に焦点を当てて、そのイデオロギーを説明してください。英語で出力して下さい。

Book of Genesis
Carl Gustav Carus
German Confederation
German nobility
Germany
Joseph Koerner
Luther Bible
Martin Luther
Napoleonic Wars
Unification of Germany


section

雲海の上の旅人

Friedrich was an outspoken supporter of German liberal and nationalist feeling. The old German princely states were disrupted and saw their authority compromised in the wake of the Napoleonic Wars of 1803–1815. German nationalists advocated for the Unification of Germany and the abolition of the conservative German nobility and leadership of the German Confederation. One of the ways German liberals identified themselves and showed their support was a fashion trend: Altdeutsche  outfits, a restoration of a heroic unified German past of the 1500s–1600s and the age of Martin Luther.  Nationalists such as Friedrich thus identified themselves with restoring a lost national greatness. The art historian Norbert Wolf, following Koerner and others, has stated that the figure in Wanderer above the Sea of Fog wears just such an Altdeutsche outfit, a political statement in the era when the painting was created. Other scholars have described the figure's clothing as a Jäger infantry uniform.  Another potential link was how Friedrich met and befriended the scientist and fellow painter Carl Gustav Carus in 1817 just before he would have been preparing and painting Wanderer. Art historian Joseph Koerner notes that Carus wrote on a particular verse in the Luther Bible: Luther translated the account of God's creation of Earth in the Book of Genesis 2:6 as  .  Carus argued the fog was God's assistant in the Creation, turning barren mountains into verdant forests. Koerner hypothesizes that Carus and Friedrich could have discussed the matter in the course of their friendship. He sees that Wanderer could well be depicting a Creation-esque scene: the figure views a land of unknown possibility, hidden in the mist, emerging from the heart as an emanation from the "I"

Prompt: 雲海の上の旅人のイデオロギーを説明してください。英語で出力して下さい。

Book of Genesis
Carl Gustav Carus
German Confederation
German nobility
Germany
Joseph Koerner
Luther Bible
Martin Luther
Napoleonic Wars
Unification of Germany


section

雲海の上の旅人

Friedrich was an outspoken supporter of German liberal and nationalist feeling. The old German princely states were disrupted and saw their authority compromised in the wake of the Napoleonic Wars of 1803–1815. German nationalists advocated for the Unification of Germany and the abolition of the conservative German nobility and leadership of the German Confederation. One of the ways German liberals identified themselves and showed their support was a fashion trend: Altdeutsche  outfits, a restoration of a heroic unified German past of the 1500s–1600s and the age of Martin Luther.  Nationalists such as Friedrich thus identified themselves with restoring a lost national greatness. The art historian Norbert Wolf, following Koerner and others, has stated that the figure in Wanderer above the Sea of Fog wears just such an Altdeutsche outfit, a political statement in the era when the painting was created. Other scholars have described the figure's clothing as a Jäger infantry uniform.  Another potential link was how Friedrich met and befriended the scientist and fellow painter Carl Gustav Carus in 1817 just before he would have been preparing and painting Wanderer. Art historian Joseph Koerner notes that Carus wrote on a particular verse in the Luther Bible: Luther translated the account of God's creation of Earth in the Book of Genesis 2:6 as  .  Carus argued the fog was God's assistant in the Creation, turning barren mountains into verdant forests. Koerner hypothesizes that Carus and Friedrich could have discussed the matter in the course of their friendship. He sees that Wanderer could well be depicting a Creation-esque scene: the figure views a land of unknown possibility, hidden in the mist, emerging from the heart as an emanation from the "I"

Prompt: 雲海の上の旅人はどのようにイデオロギーを説明していますか？英語で出力して下さい。

Book of Genesis
Carl Gustav Carus
German Confederation
German nobility
Germany
Joseph Koerner
Luther Bible
Martin Luther
Napoleonic Wars
Unification of Germany


section

雲海の上の旅人

Friedrich was an outspoken supporter of German liberal and nationalist feeling. The old German princely states were disrupted and saw their authority compromised in the wake of the Napoleonic Wars of 1803–1815. German nationalists advocated for the Unification of Germany and the abolition of the conservative German nobility and leadership of the German Confederation. One of the ways German liberals identified themselves and showed their support was a fashion trend: Altdeutsche  outfits, a restoration of a heroic unified German past of the 1500s–1600s and the age of Martin Luther.  Nationalists such as Friedrich thus identified themselves with restoring a lost national greatness. The art historian Norbert Wolf, following Koerner and others, has stated that the figure in Wanderer above the Sea of Fog wears just such an Altdeutsche outfit, a political statement in the era when the painting was created. Other scholars have described the figure's clothing as a Jäger infantry uniform.  Another potential link was how Friedrich met and befriended the scientist and fellow painter Carl Gustav Carus in 1817 just before he would have been preparing and painting Wanderer. Art historian Joseph Koerner notes that Carus wrote on a particular verse in the Luther Bible: Luther translated the account of God's creation of Earth in the Book of Genesis 2:6 as  .  Carus argued the fog was God's assistant in the Creation, turning barren mountains into verdant forests. Koerner hypothesizes that Carus and Friedrich could have discussed the matter in the course of their friendship. He sees that Wanderer could well be depicting a Creation-esque scene: the figure views a land of unknown possibility, hidden in the mist, emerging from the heart as an emanation from the "I"

Prompt: 雲海の上の旅人に関して、どのようにイデオロギーが議論されていますか？英語で出力して下さい。

Book of Genesis
Carl Gustav Carus
German Confederation
German nobility
Germany
Joseph Koerner
Luther Bible
Martin Luther
Napoleonic Wars
Unification of Germany


section

雲海の上の旅人

Robert Macfarlane argues the painting had significant influence on how mountain climbing has been viewed in the Western world since the Romantic era, calling it the "archetypical image of the mountain-climbing visionary". He admires its power in representing the concept that standing on mountain tops is something to be admired, an idea which barely existed in earlier centuries.

Prompt: 雲海の上の旅人に焦点を当てて、その登山を説明してください。英語で出力して下さい。


section

雲海の上の旅人

Robert Macfarlane argues the painting had significant influence on how mountain climbing has been viewed in the Western world since the Romantic era, calling it the "archetypical image of the mountain-climbing visionary". He admires its power in representing the concept that standing on mountain tops is something to be admired, an idea which barely existed in earlier centuries.

Prompt: 雲海の上の旅人の登山を説明してください。英語で出力して下さい。


section

雲海の上の旅人

Robert Macfarlane argues the painting had significant influence on how mountain climbing has been viewed in the Western world since the Romantic era, calling it the "archetypical image of the mountain-climbing visionary". He admires its power in representing the concept that standing on mountain tops is something to be admired, an idea which barely existed in earlier centuries.

Prompt: 雲海の上の旅人はどのように登山を説明していますか？英語で出力して下さい。


section

雲海の上の旅人

Robert Macfarlane argues the painting had significant influence on how mountain climbing has been viewed in the Western world since the Romantic era, calling it the "archetypical image of the mountain-climbing visionary". He admires its power in representing the concept that standing on mountain tops is something to be admired, an idea which barely existed in earlier centuries.

Prompt: 雲海の上の旅人に関して、どのように登山が議論されていますか？英語で出力して下さい。


section

雲海の上の旅人

While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. His fame waned as he grew older; he wrote that the art judges of his day did not appreciate winter landscapes and mist enough. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s. Wanderer became particularly popular: used as an inspiration for a variety of works since, and not merely known among art scholars. Wanderer has appeared on the cover of numerous books, T-shirts, CDs, coffee mugs, and so on, becoming a staple of "popular art" as well as high culture.  Werner Hofmann hypothesizes that the subject looking upon a canvas of open possibility, ready to make a choice and find what awaits him, appeals to modern viewers.

Prompt: 雲海の上の旅人に焦点を当てて、その受付を説明してください。英語で出力して下さい。


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雲海の上の旅人

While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. His fame waned as he grew older; he wrote that the art judges of his day did not appreciate winter landscapes and mist enough. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s. Wanderer became particularly popular: used as an inspiration for a variety of works since, and not merely known among art scholars. Wanderer has appeared on the cover of numerous books, T-shirts, CDs, coffee mugs, and so on, becoming a staple of "popular art" as well as high culture.  Werner Hofmann hypothesizes that the subject looking upon a canvas of open possibility, ready to make a choice and find what awaits him, appeals to modern viewers.

Prompt: 雲海の上の旅人の受付を説明してください。英語で出力して下さい。


section

雲海の上の旅人

While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. His fame waned as he grew older; he wrote that the art judges of his day did not appreciate winter landscapes and mist enough. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s. Wanderer became particularly popular: used as an inspiration for a variety of works since, and not merely known among art scholars. Wanderer has appeared on the cover of numerous books, T-shirts, CDs, coffee mugs, and so on, becoming a staple of "popular art" as well as high culture.  Werner Hofmann hypothesizes that the subject looking upon a canvas of open possibility, ready to make a choice and find what awaits him, appeals to modern viewers.

Prompt: 雲海の上の旅人はどのように受付を説明していますか？英語で出力して下さい。


section

雲海の上の旅人

While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. His fame waned as he grew older; he wrote that the art judges of his day did not appreciate winter landscapes and mist enough. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s. Wanderer became particularly popular: used as an inspiration for a variety of works since, and not merely known among art scholars. Wanderer has appeared on the cover of numerous books, T-shirts, CDs, coffee mugs, and so on, becoming a staple of "popular art" as well as high culture.  Werner Hofmann hypothesizes that the subject looking upon a canvas of open possibility, ready to make a choice and find what awaits him, appeals to modern viewers.

Prompt: 雲海の上の旅人に関して、どのように受付が議論されていますか？英語で出力して下さい。


section

雲海の上の旅人

Prompt: 雲海の上の旅人に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Caspar David Friedrich
List of works by Caspar David Friedrich


section

雲海の上の旅人

Prompt: 雲海の上の旅人の参照を説明してください。英語で出力して下さい。

Caspar David Friedrich
List of works by Caspar David Friedrich


section

雲海の上の旅人

Prompt: 雲海の上の旅人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。

Caspar David Friedrich
List of works by Caspar David Friedrich


section

雲海の上の旅人

Prompt: 雲海の上の旅人に関して、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。

Caspar David Friedrich
List of works by Caspar David Friedrich


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傷ついた天使

The Wounded Angel  is a painting by Finnish symbolist painter Hugo Simberg. It is one of the most recognizable of Simberg's works, and was voted Finland's "national painting" in a vote held by the Ateneum art museum in 2006. In a similar 2013 vote held by Nordic Moneta, it was voted second most important.

Prompt: 傷ついた天使に焦点を当てて、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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傷ついた天使

The Wounded Angel  is a painting by Finnish symbolist painter Hugo Simberg. It is one of the most recognizable of Simberg's works, and was voted Finland's "national painting" in a vote held by the Ateneum art museum in 2006. In a similar 2013 vote held by Nordic Moneta, it was voted second most important.

Prompt: 傷ついた天使の抽象を説明してください。英語で出力して下さい。


section

傷ついた天使

The Wounded Angel  is a painting by Finnish symbolist painter Hugo Simberg. It is one of the most recognizable of Simberg's works, and was voted Finland's "national painting" in a vote held by the Ateneum art museum in 2006. In a similar 2013 vote held by Nordic Moneta, it was voted second most important.

Prompt: 傷ついた天使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

傷ついた天使

The Wounded Angel  is a painting by Finnish symbolist painter Hugo Simberg. It is one of the most recognizable of Simberg's works, and was voted Finland's "national painting" in a vote held by the Ateneum art museum in 2006. In a similar 2013 vote held by Nordic Moneta, it was voted second most important.

Prompt: 傷ついた天使に関して、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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傷ついた天使

Like other Simberg works, the atmosphere is melancholic: the angelic central figure with her bandaged forehead and bloodied wing, the sombre clothing of her two youthful bearers. The right-hand figure's gaze is fixated beyond and to the right of the viewer. The procession passes through a recognisable landscape, that of Eläintarha, Helsinki, with Töölönlahti Bay in the background. The same road still skirts Töölönlahti Bay. In Hugo Simberg's time, the park was a popular spot for leisure-time activities among the working classes. At the time, many charity institutions were located in Eläintarha park; in The Wounded Angel, the healthy boys are carrying the injured girl towards the Blind Girls' School and the Home for Cripples. She clutches a bunch of snowdrops, symbolic of healing and rebirth.Simberg himself declined to offer any interpretation, suggesting that the viewer draw their own conclusions. However, Simberg had been suffering from meningitis, and the painting was a source of strength during his recovery.A number of Finnish artists praised The Wounded Angel when it first displayed in 1903 at the Ateneum autumn exhibition. In a letter to his sister Blenda, Simberg wrote on 10 October 1903: "I wanted to share the good news with you – I was not rejected this year, even though the jury was terribly strict. It seems that I have achieved something of a grand succés among my colleagues and the members of the jury. Gallén is so excited that I can hardly take him seriously. His first words were the highest flattery of my work and, oddly, he seems quite beside himself with enthusiasm for the big painting. He says that it gives him the impression that I had stood alone in a little cabin, huddled in the midst of a great forest, and had painted in complete indifference to the outside world. He says that it radiates peace and harmony like no other work in the exhibition – Even Edelfelt said nice things to me."When Simberg was asked to paint frescoes for the Tampere Cathedral in 1905–06, one was a larger version of The Wounded Angel, his favorite painting.

Prompt: 傷ついた天使に焦点を当てて、その絵画を説明してください。英語で出力して下さい。

Angel
Ateneum
Eläintarha
Helsinki
Hugo Simberg
Tampere Cathedral
Töölö


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傷ついた天使

Like other Simberg works, the atmosphere is melancholic: the angelic central figure with her bandaged forehead and bloodied wing, the sombre clothing of her two youthful bearers. The right-hand figure's gaze is fixated beyond and to the right of the viewer. The procession passes through a recognisable landscape, that of Eläintarha, Helsinki, with Töölönlahti Bay in the background. The same road still skirts Töölönlahti Bay. In Hugo Simberg's time, the park was a popular spot for leisure-time activities among the working classes. At the time, many charity institutions were located in Eläintarha park; in The Wounded Angel, the healthy boys are carrying the injured girl towards the Blind Girls' School and the Home for Cripples. She clutches a bunch of snowdrops, symbolic of healing and rebirth.Simberg himself declined to offer any interpretation, suggesting that the viewer draw their own conclusions. However, Simberg had been suffering from meningitis, and the painting was a source of strength during his recovery.A number of Finnish artists praised The Wounded Angel when it first displayed in 1903 at the Ateneum autumn exhibition. In a letter to his sister Blenda, Simberg wrote on 10 October 1903: "I wanted to share the good news with you – I was not rejected this year, even though the jury was terribly strict. It seems that I have achieved something of a grand succés among my colleagues and the members of the jury. Gallén is so excited that I can hardly take him seriously. His first words were the highest flattery of my work and, oddly, he seems quite beside himself with enthusiasm for the big painting. He says that it gives him the impression that I had stood alone in a little cabin, huddled in the midst of a great forest, and had painted in complete indifference to the outside world. He says that it radiates peace and harmony like no other work in the exhibition – Even Edelfelt said nice things to me."When Simberg was asked to paint frescoes for the Tampere Cathedral in 1905–06, one was a larger version of The Wounded Angel, his favorite painting.

Prompt: 傷ついた天使の絵画を説明してください。英語で出力して下さい。

Angel
Ateneum
Eläintarha
Helsinki
Hugo Simberg
Tampere Cathedral
Töölö


section

傷ついた天使

Like other Simberg works, the atmosphere is melancholic: the angelic central figure with her bandaged forehead and bloodied wing, the sombre clothing of her two youthful bearers. The right-hand figure's gaze is fixated beyond and to the right of the viewer. The procession passes through a recognisable landscape, that of Eläintarha, Helsinki, with Töölönlahti Bay in the background. The same road still skirts Töölönlahti Bay. In Hugo Simberg's time, the park was a popular spot for leisure-time activities among the working classes. At the time, many charity institutions were located in Eläintarha park; in The Wounded Angel, the healthy boys are carrying the injured girl towards the Blind Girls' School and the Home for Cripples. She clutches a bunch of snowdrops, symbolic of healing and rebirth.Simberg himself declined to offer any interpretation, suggesting that the viewer draw their own conclusions. However, Simberg had been suffering from meningitis, and the painting was a source of strength during his recovery.A number of Finnish artists praised The Wounded Angel when it first displayed in 1903 at the Ateneum autumn exhibition. In a letter to his sister Blenda, Simberg wrote on 10 October 1903: "I wanted to share the good news with you – I was not rejected this year, even though the jury was terribly strict. It seems that I have achieved something of a grand succés among my colleagues and the members of the jury. Gallén is so excited that I can hardly take him seriously. His first words were the highest flattery of my work and, oddly, he seems quite beside himself with enthusiasm for the big painting. He says that it gives him the impression that I had stood alone in a little cabin, huddled in the midst of a great forest, and had painted in complete indifference to the outside world. He says that it radiates peace and harmony like no other work in the exhibition – Even Edelfelt said nice things to me."When Simberg was asked to paint frescoes for the Tampere Cathedral in 1905–06, one was a larger version of The Wounded Angel, his favorite painting.

Prompt: 傷ついた天使はどのように絵画を説明していますか？英語で出力して下さい。

Angel
Ateneum
Eläintarha
Helsinki
Hugo Simberg
Tampere Cathedral
Töölö


section

傷ついた天使

Like other Simberg works, the atmosphere is melancholic: the angelic central figure with her bandaged forehead and bloodied wing, the sombre clothing of her two youthful bearers. The right-hand figure's gaze is fixated beyond and to the right of the viewer. The procession passes through a recognisable landscape, that of Eläintarha, Helsinki, with Töölönlahti Bay in the background. The same road still skirts Töölönlahti Bay. In Hugo Simberg's time, the park was a popular spot for leisure-time activities among the working classes. At the time, many charity institutions were located in Eläintarha park; in The Wounded Angel, the healthy boys are carrying the injured girl towards the Blind Girls' School and the Home for Cripples. She clutches a bunch of snowdrops, symbolic of healing and rebirth.Simberg himself declined to offer any interpretation, suggesting that the viewer draw their own conclusions. However, Simberg had been suffering from meningitis, and the painting was a source of strength during his recovery.A number of Finnish artists praised The Wounded Angel when it first displayed in 1903 at the Ateneum autumn exhibition. In a letter to his sister Blenda, Simberg wrote on 10 October 1903: "I wanted to share the good news with you – I was not rejected this year, even though the jury was terribly strict. It seems that I have achieved something of a grand succés among my colleagues and the members of the jury. Gallén is so excited that I can hardly take him seriously. His first words were the highest flattery of my work and, oddly, he seems quite beside himself with enthusiasm for the big painting. He says that it gives him the impression that I had stood alone in a little cabin, huddled in the midst of a great forest, and had painted in complete indifference to the outside world. He says that it radiates peace and harmony like no other work in the exhibition – Even Edelfelt said nice things to me."When Simberg was asked to paint frescoes for the Tampere Cathedral in 1905–06, one was a larger version of The Wounded Angel, his favorite painting.

Prompt: 傷ついた天使に関して、どのように絵画が議論されていますか？英語で出力して下さい。

Angel
Ateneum
Eläintarha
Helsinki
Hugo Simberg
Tampere Cathedral
Töölö


section

傷ついた天使

The painting inspired the album cover for Spiritual Black Dimensions by Dimmu Borgir The painting partially inspired the music video for the Nightwish song "Amaranth."The painting has a strong symbolic role in the Apple TV series Constellation .

Prompt: 傷ついた天使に焦点を当てて、その後の作品への影響を説明してください。英語で出力して下さい。

Dimmu Borgir
Nightwish
Spiritual Black Dimensions


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傷ついた天使

The painting inspired the album cover for Spiritual Black Dimensions by Dimmu Borgir The painting partially inspired the music video for the Nightwish song "Amaranth."The painting has a strong symbolic role in the Apple TV series Constellation .

Prompt: 傷ついた天使の後の作品への影響を説明してください。英語で出力して下さい。

Dimmu Borgir
Nightwish
Spiritual Black Dimensions


section

傷ついた天使

The painting inspired the album cover for Spiritual Black Dimensions by Dimmu Borgir The painting partially inspired the music video for the Nightwish song "Amaranth."The painting has a strong symbolic role in the Apple TV series Constellation .

Prompt: 傷ついた天使はどのように後の作品への影響を説明していますか？英語で出力して下さい。

Dimmu Borgir
Nightwish
Spiritual Black Dimensions


section

傷ついた天使

The painting inspired the album cover for Spiritual Black Dimensions by Dimmu Borgir The painting partially inspired the music video for the Nightwish song "Amaranth."The painting has a strong symbolic role in the Apple TV series Constellation .

Prompt: 傷ついた天使に関して、どのように後の作品への影響が議論されていますか？英語で出力して下さい。

Dimmu Borgir
Nightwish
Spiritual Black Dimensions


section

傷ついた天使

On Your Mark - short film written and directed by Hayao Miyazaki with a similar motif

Prompt: 傷ついた天使に焦点を当てて、その参照を説明してください。英語で出力して下さい。


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傷ついた天使

On Your Mark - short film written and directed by Hayao Miyazaki with a similar motif

Prompt: 傷ついた天使の参照を説明してください。英語で出力して下さい。


section

傷ついた天使

On Your Mark - short film written and directed by Hayao Miyazaki with a similar motif

Prompt: 傷ついた天使はどのように参照を説明していますか？英語で出力して下さい。


section

傷ついた天使

On Your Mark - short film written and directed by Hayao Miyazaki with a similar motif

Prompt: 傷ついた天使に関して、どのように参照が議論されていますか？英語で出力して下さい。


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ステュクス川を渡るカロンのいる風景

ndscape with Charon Crossing the Styx is an oil on wood painting by the Flemish Northern Renaissance artist Joachim Patinir. Dating to c. 1515–1524, it is now in the Museo del Prado, in Madrid.ndscape with Charon Crossing Styx fits into common Northern Renaissance and early Mannerist trends of art. The 16th century witnessed a new era for painting in Germany and the Netherlands that combined influences from local traditions and foreign influences. Many artists, including Patinir, traveled to Italy to study and these travels provided new ideas, particularly concerning representations of the natural world. Patinir's religious subjects, therefore, incorporate precise observation and naturalism with fantastic landscapes inspired by the northern traditions of Bosch.

Prompt: ステュクス川を渡るカロンのいる風景に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Germany
Italy
Joachim Patinir
Museo del Prado
Netherlands
Northern Renaissance
Styx


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ステュクス川を渡るカロンのいる風景

ndscape with Charon Crossing the Styx is an oil on wood painting by the Flemish Northern Renaissance artist Joachim Patinir. Dating to c. 1515–1524, it is now in the Museo del Prado, in Madrid.ndscape with Charon Crossing Styx fits into common Northern Renaissance and early Mannerist trends of art. The 16th century witnessed a new era for painting in Germany and the Netherlands that combined influences from local traditions and foreign influences. Many artists, including Patinir, traveled to Italy to study and these travels provided new ideas, particularly concerning representations of the natural world. Patinir's religious subjects, therefore, incorporate precise observation and naturalism with fantastic landscapes inspired by the northern traditions of Bosch.

Prompt: ステュクス川を渡るカロンのいる風景の抽象を説明してください。英語で出力して下さい。

Germany
Italy
Joachim Patinir
Museo del Prado
Netherlands
Northern Renaissance
Styx


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ステュクス川を渡るカロンのいる風景

ndscape with Charon Crossing the Styx is an oil on wood painting by the Flemish Northern Renaissance artist Joachim Patinir. Dating to c. 1515–1524, it is now in the Museo del Prado, in Madrid.ndscape with Charon Crossing Styx fits into common Northern Renaissance and early Mannerist trends of art. The 16th century witnessed a new era for painting in Germany and the Netherlands that combined influences from local traditions and foreign influences. Many artists, including Patinir, traveled to Italy to study and these travels provided new ideas, particularly concerning representations of the natural world. Patinir's religious subjects, therefore, incorporate precise observation and naturalism with fantastic landscapes inspired by the northern traditions of Bosch.

Prompt: ステュクス川を渡るカロンのいる風景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。

Germany
Italy
Joachim Patinir
Museo del Prado
Netherlands
Northern Renaissance
Styx


section

ステュクス川を渡るカロンのいる風景

ndscape with Charon Crossing the Styx is an oil on wood painting by the Flemish Northern Renaissance artist Joachim Patinir. Dating to c. 1515–1524, it is now in the Museo del Prado, in Madrid.ndscape with Charon Crossing Styx fits into common Northern Renaissance and early Mannerist trends of art. The 16th century witnessed a new era for painting in Germany and the Netherlands that combined influences from local traditions and foreign influences. Many artists, including Patinir, traveled to Italy to study and these travels provided new ideas, particularly concerning representations of the natural world. Patinir's religious subjects, therefore, incorporate precise observation and naturalism with fantastic landscapes inspired by the northern traditions of Bosch.

Prompt: ステュクス川を渡るカロンのいる風景に関して、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。

Germany
Italy
Joachim Patinir
Museo del Prado
Netherlands
Northern Renaissance
Styx


section

ステュクス川を渡るカロンのいる風景

It depicts the classical subject related by Virgil in his Aeneid  and Dante in the Inferno  at the centre of the picture within the Christian traditions of the st Judgment and the Ars moriendi. The larger figure in the boat is Charon, who transports the souls of the dead to the gates of Hades. The passenger in the boat, too minute to distinguish his expressions, is a human soul deciding between Heaven, to his right , or Hell, to his left. The river Styx divides the painting down the centre. It is one of the four rivers of the underworld that passes through the deepest part of hell. On the painting's left side is the fountain of Paradise, the spring from which the river Lethe flows through Heaven.On the right side of the composition is Patinir's vision of Hell, drawing largely on Boschian influences. He adapts a description of Hades, in which, according to the Greek writer Pausanias, one of the gates was located at the southern end of the Peloponnesus, in an inlet still visible on the Cape Matapan. In front of the gates is Cerberus, a three-headed dog, who guards the entrance of the gate and frightens all the potential souls who enter into Hades. The soul in the boat ultimately chooses his destiny by looking toward Hell and ignoring the angel on the river-bank in Paradise that beckons him to the more difficult path to Heaven.

Prompt: ステュクス川を渡るカロンのいる風景に焦点を当てて、その図像学を説明してください。英語で出力して下さい。

Ars moriendi
Cape Matapan
Cerberus
Hades
Heaven
Hell
Lethe
Paradise
Styx
Virgil


section

ステュクス川を渡るカロンのいる風景

It depicts the classical subject related by Virgil in his Aeneid  and Dante in the Inferno  at the centre of the picture within the Christian traditions of the st Judgment and the Ars moriendi. The larger figure in the boat is Charon, who transports the souls of the dead to the gates of Hades. The passenger in the boat, too minute to distinguish his expressions, is a human soul deciding between Heaven, to his right , or Hell, to his left. The river Styx divides the painting down the centre. It is one of the four rivers of the underworld that passes through the deepest part of hell. On the painting's left side is the fountain of Paradise, the spring from which the river Lethe flows through Heaven.On the right side of the composition is Patinir's vision of Hell, drawing largely on Boschian influences. He adapts a description of Hades, in which, according to the Greek writer Pausanias, one of the gates was located at the southern end of the Peloponnesus, in an inlet still visible on the Cape Matapan. In front of the gates is Cerberus, a three-headed dog, who guards the entrance of the gate and frightens all the potential souls who enter into Hades. The soul in the boat ultimately chooses his destiny by looking toward Hell and ignoring the angel on the river-bank in Paradise that beckons him to the more difficult path to Heaven.

Prompt: ステュクス川を渡るカロンのいる風景の図像学を説明してください。英語で出力して下さい。

Ars moriendi
Cape Matapan
Cerberus
Hades
Heaven
Hell
Lethe
Paradise
Styx
Virgil


section

ステュクス川を渡るカロンのいる風景

It depicts the classical subject related by Virgil in his Aeneid  and Dante in the Inferno  at the centre of the picture within the Christian traditions of the st Judgment and the Ars moriendi. The larger figure in the boat is Charon, who transports the souls of the dead to the gates of Hades. The passenger in the boat, too minute to distinguish his expressions, is a human soul deciding between Heaven, to his right , or Hell, to his left. The river Styx divides the painting down the centre. It is one of the four rivers of the underworld that passes through the deepest part of hell. On the painting's left side is the fountain of Paradise, the spring from which the river Lethe flows through Heaven.On the right side of the composition is Patinir's vision of Hell, drawing largely on Boschian influences. He adapts a description of Hades, in which, according to the Greek writer Pausanias, one of the gates was located at the southern end of the Peloponnesus, in an inlet still visible on the Cape Matapan. In front of the gates is Cerberus, a three-headed dog, who guards the entrance of the gate and frightens all the potential souls who enter into Hades. The soul in the boat ultimately chooses his destiny by looking toward Hell and ignoring the angel on the river-bank in Paradise that beckons him to the more difficult path to Heaven.

Prompt: ステュクス川を渡るカロンのいる風景はどのように図像学を説明していますか？英語で出力して下さい。

Ars moriendi
Cape Matapan
Cerberus
Hades
Heaven
Hell
Lethe
Paradise
Styx
Virgil


section

ステュクス川を渡るカロンのいる風景

It depicts the classical subject related by Virgil in his Aeneid  and Dante in the Inferno  at the centre of the picture within the Christian traditions of the st Judgment and the Ars moriendi. The larger figure in the boat is Charon, who transports the souls of the dead to the gates of Hades. The passenger in the boat, too minute to distinguish his expressions, is a human soul deciding between Heaven, to his right , or Hell, to his left. The river Styx divides the painting down the centre. It is one of the four rivers of the underworld that passes through the deepest part of hell. On the painting's left side is the fountain of Paradise, the spring from which the river Lethe flows through Heaven.On the right side of the composition is Patinir's vision of Hell, drawing largely on Boschian influences. He adapts a description of Hades, in which, according to the Greek writer Pausanias, one of the gates was located at the southern end of the Peloponnesus, in an inlet still visible on the Cape Matapan. In front of the gates is Cerberus, a three-headed dog, who guards the entrance of the gate and frightens all the potential souls who enter into Hades. The soul in the boat ultimately chooses his destiny by looking toward Hell and ignoring the angel on the river-bank in Paradise that beckons him to the more difficult path to Heaven.

Prompt: ステュクス川を渡るカロンのいる風景に関して、どのように図像学が議論されていますか？英語で出力して下さい。

Ars moriendi
Cape Matapan
Cerberus
Hades
Heaven
Hell
Lethe
Paradise
Styx
Virgil


section

ステュクス川を渡るカロンのいる風景

Patinir utilised a Weltlandschaft  composition with a three-colour scheme typical of his work, moving from brown in the foreground, to bluish-green, to pale blue in the background). This format, which Patiner is widely acknowledged as popularising, provides a bird's-eye view over an expansive landscape. Furthermore, the painting uses colour to visibly depict heaven and hell, good and evil. To the viewer's left is a heavenly place with bright blue skies, crystal blue rivers with a luminous fountain and angels accenting the grassy hills. On the far right of the painting is a dark sky engulfing Hell and the hanged figures on its gate. Fires blaze in the hills. The foreground of the painting consists of brown rocks in Heaven and brown burnt trees in Hell. In the middle-ground is the river and the grasslands in bright hues of blue and green. The background, which is cut off by the horizon line of the darker blue river, is a pale blue sky highlighted with white and gray clouds.  This compositional form is applied here by the crowded left and right sides bracketed by hills, which pushes the viewer's eye into the open space in the middle and reinforces that the men in the boat are the main focus of the painting.

Prompt: ステュクス川を渡るカロンのいる風景に焦点を当てて、その構成と色を説明してください。英語で出力して下さい。


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ステュクス川を渡るカロンのいる風景

Patinir utilised a Weltlandschaft  composition with a three-colour scheme typical of his work, moving from brown in the foreground, to bluish-green, to pale blue in the background). This format, which Patiner is widely acknowledged as popularising, provides a bird's-eye view over an expansive landscape. Furthermore, the painting uses colour to visibly depict heaven and hell, good and evil. To the viewer's left is a heavenly place with bright blue skies, crystal blue rivers with a luminous fountain and angels accenting the grassy hills. On the far right of the painting is a dark sky engulfing Hell and the hanged figures on its gate. Fires blaze in the hills. The foreground of the painting consists of brown rocks in Heaven and brown burnt trees in Hell. In the middle-ground is the river and the grasslands in bright hues of blue and green. The background, which is cut off by the horizon line of the darker blue river, is a pale blue sky highlighted with white and gray clouds.  This compositional form is applied here by the crowded left and right sides bracketed by hills, which pushes the viewer's eye into the open space in the middle and reinforces that the men in the boat are the main focus of the painting.

Prompt: ステュクス川を渡るカロンのいる風景の構成と色を説明してください。英語で出力して下さい。


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ステュクス川を渡るカロンのいる風景

Patinir utilised a Weltlandschaft  composition with a three-colour scheme typical of his work, moving from brown in the foreground, to bluish-green, to pale blue in the background). This format, which Patiner is widely acknowledged as popularising, provides a bird's-eye view over an expansive landscape. Furthermore, the painting uses colour to visibly depict heaven and hell, good and evil. To the viewer's left is a heavenly place with bright blue skies, crystal blue rivers with a luminous fountain and angels accenting the grassy hills. On the far right of the painting is a dark sky engulfing Hell and the hanged figures on its gate. Fires blaze in the hills. The foreground of the painting consists of brown rocks in Heaven and brown burnt trees in Hell. In the middle-ground is the river and the grasslands in bright hues of blue and green. The background, which is cut off by the horizon line of the darker blue river, is a pale blue sky highlighted with white and gray clouds.  This compositional form is applied here by the crowded left and right sides bracketed by hills, which pushes the viewer's eye into the open space in the middle and reinforces that the men in the boat are the main focus of the painting.

Prompt: ステュクス川を渡るカロンのいる風景はどのように構成と色を説明していますか？英語で出力して下さい。


section

ステュクス川を渡るカロンのいる風景

Patinir utilised a Weltlandschaft  composition with a three-colour scheme typical of his work, moving from brown in the foreground, to bluish-green, to pale blue in the background). This format, which Patiner is widely acknowledged as popularising, provides a bird's-eye view over an expansive landscape. Furthermore, the painting uses colour to visibly depict heaven and hell, good and evil. To the viewer's left is a heavenly place with bright blue skies, crystal blue rivers with a luminous fountain and angels accenting the grassy hills. On the far right of the painting is a dark sky engulfing Hell and the hanged figures on its gate. Fires blaze in the hills. The foreground of the painting consists of brown rocks in Heaven and brown burnt trees in Hell. In the middle-ground is the river and the grasslands in bright hues of blue and green. The background, which is cut off by the horizon line of the darker blue river, is a pale blue sky highlighted with white and gray clouds.  This compositional form is applied here by the crowded left and right sides bracketed by hills, which pushes the viewer's eye into the open space in the middle and reinforces that the men in the boat are the main focus of the painting.

Prompt: ステュクス川を渡るカロンのいる風景に関して、どのように構成と色が議論されていますか？英語で出力して下さい。


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テュイルリー公園の音楽会

Music in the Tuileries is an 1862The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-tour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures . It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh ne in 1903. After ne's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery . The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the ne Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.

Prompt: テュイルリー公園の音楽会に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Albert de Balleroy
Charles Baudelaire
Diego Velázquez
Dublin
Eugène Manet
Frans Hals
Jacques Offenbach
Jean-Baptiste Faure
Louvre
National Gallery
National Gallery
Paul Durand-Ruel
RMS Lusitania
Théophile Gautier
Zacharie Astruc


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テュイルリー公園の音楽会

Music in the Tuileries is an 1862The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-tour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures . It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh ne in 1903. After ne's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery . The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the ne Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.

Prompt: テュイルリー公園の音楽会の抽象を説明してください。英語で出力して下さい。

Albert de Balleroy
Charles Baudelaire
Diego Velázquez
Dublin
Eugène Manet
Frans Hals
Jacques Offenbach
Jean-Baptiste Faure
Louvre
National Gallery
National Gallery
Paul Durand-Ruel
RMS Lusitania
Théophile Gautier
Zacharie Astruc


section

テュイルリー公園の音楽会

Music in the Tuileries is an 1862The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-tour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures . It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh ne in 1903. After ne's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery . The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the ne Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.

Prompt: テュイルリー公園の音楽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。

Albert de Balleroy
Charles Baudelaire
Diego Velázquez
Dublin
Eugène Manet
Frans Hals
Jacques Offenbach
Jean-Baptiste Faure
Louvre
National Gallery
National Gallery
Paul Durand-Ruel
RMS Lusitania
Théophile Gautier
Zacharie Astruc


section

テュイルリー公園の音楽会

Music in the Tuileries is an 1862The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-tour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures . It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh ne in 1903. After ne's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery . The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the ne Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.

Prompt: テュイルリー公園の音楽会に関して、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。

Albert de Balleroy
Charles Baudelaire
Diego Velázquez
Dublin
Eugène Manet
Frans Hals
Jacques Offenbach
Jean-Baptiste Faure
Louvre
National Gallery
National Gallery
Paul Durand-Ruel
RMS Lusitania
Théophile Gautier
Zacharie Astruc