subsection

糸車の聖母

Madonna of the Yarnwinder , Uffizi, Florence. Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh. Fernando Yáñez de la Almedina, The Holy Family , formerly in the Carlos Grether collection, Buenos Aires Attributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John , National Gallery of Art, Washington, D.C. Hernando de los Llanos, Rest on the Flight into Egypt , Valencia Cathedral. Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MA Madonna of the Yarnwinder, Granada Cathedral. Madonna of the Yarnwinder , Apsley House, London. Madonna of the Yarnwinder, Prince's Palace of Monaco. Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich. Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections. Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection. Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome. Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba. Luis de Morales, Madonna of the Yarnwinder , Hispanic Society of America, New York City.

Prompt: 糸車の聖母では、どのようにバクルーのマドンナのコピーのリストが説明されていますか？英語で出力して下さい。

Apsley House
Buenos Aires
Cesare da Sesto
Edinburgh
Fernando Yáñez de la Almedina
Florence
Galleria Nazionale d'Arte Antica
Granada Cathedral
Hernando de los Llanos
Hispanic Society of America
Luis de Morales
Martino Piazza
Munich
National Gallery of Art
Prince's Palace of Monaco
Rest on the Flight into Egypt
Scottish National Gallery
Uffizi
Valencia Cathedral
Worcester Art Museum
Yarn


subsection

糸車の聖母

Madonna of the Yarnwinder , Uffizi, Florence. Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh. Fernando Yáñez de la Almedina, The Holy Family , formerly in the Carlos Grether collection, Buenos Aires Attributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John , National Gallery of Art, Washington, D.C. Hernando de los Llanos, Rest on the Flight into Egypt , Valencia Cathedral. Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MA Madonna of the Yarnwinder, Granada Cathedral. Madonna of the Yarnwinder , Apsley House, London. Madonna of the Yarnwinder, Prince's Palace of Monaco. Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich. Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections. Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection. Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome. Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba. Luis de Morales, Madonna of the Yarnwinder , Hispanic Society of America, New York City.

Prompt: 糸車の聖母のバクルーのマドンナにおけるコピーのリストの特徴を説明してください。英語で出力して下さい。

Apsley House
Buenos Aires
Cesare da Sesto
Edinburgh
Fernando Yáñez de la Almedina
Florence
Galleria Nazionale d'Arte Antica
Granada Cathedral
Hernando de los Llanos
Hispanic Society of America
Luis de Morales
Martino Piazza
Munich
National Gallery of Art
Prince's Palace of Monaco
Rest on the Flight into Egypt
Scottish National Gallery
Uffizi
Valencia Cathedral
Worcester Art Museum
Yarn


subsection

糸車の聖母

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, ncashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonnas recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland  in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier.

Prompt: 糸車の聖母の文脈で、盗難と回収と影響  コピーを説明してください。英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Glasgow
Skelmersdale
The Scotsman


subsection

糸車の聖母

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, ncashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonnas recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland  in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier.

Prompt: 糸車の聖母の影響  コピーに関する盗難と回収を説明してください。英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Glasgow
Skelmersdale
The Scotsman


subsection

糸車の聖母

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, ncashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonnas recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland  in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier.

Prompt: 糸車の聖母では、どのように影響  コピーの盗難と回収が説明されていますか？英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Glasgow
Skelmersdale
The Scotsman


subsection

糸車の聖母

In 2003 the Buccleuch Madonna was stolen from Drumlanrig Castle by two thieves posing as tourists, who said "Don't worry love, we're the police. This is just practice" to two tourists from New Zealand as they exited through a window carrying the Leonardo. In 2007 a Chartered Loss Adjuster acting for the Duke of Buccleuch's insurers was contacted by an English lawyer, who claimed that he could arrange for the painting's return within 72 hours. The lawyer, Marshall Ronald of Skelmersdale, ncashire, was visited by two undercover policemen who posed as an art expert and an agent for the Duke. The painting was then taken to a lawyer's office in Glasgow; this was raided by police officers from four anti-crime agencies during a meeting of five people. Four arrests were made, including of two solicitors from different firms. The Scotsman, describing the Glasgow firm as "one of the country's most successful and respected law firms", quoted a source as saying their arrested member "was not involved in any criminal act, but was acting as a go-between for two parties by scrutinizing a contract which would have allowed an English firm to 'secure legal repatriation' of the painting from an unidentified party."The 9th Duke of Buccleuch never lived to see the Madonnas recovery as he had died unexpectedly only a month beforehand. The painting was lent to the National Gallery of Scotland  in Edinburgh in 2009, and remains on display there as of 2020. In 2010 Ronald was cleared of the charge of holding the Duke to ransom; in 2013 he mounted legal action against the 10th Duke and the Chief Constable of Dumfries and Galloway, demanding a reward of £4.25 million, which he claims he was promised in the meeting with the undercover policemen six years earlier.

Prompt: 糸車の聖母の影響  コピーにおける盗難と回収の特徴を説明してください。英語で出力して下さい。

Drumlanrig Castle
Dumfries and Galloway
Edinburgh
Glasgow
Skelmersdale
The Scotsman


subsection

糸車の聖母

Madonna of the Yarnwinder , Uffizi, Florence. Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh. Fernando Yáñez de la Almedina, The Holy Family , formerly in the Carlos Grether collection, Buenos Aires Attributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John , National Gallery of Art, Washington, D.C. Hernando de los Llanos, Rest on the Flight into Egypt , Valencia Cathedral. Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MA Madonna of the Yarnwinder, Granada Cathedral. Madonna of the Yarnwinder , Apsley House, London. Madonna of the Yarnwinder, Prince's Palace of Monaco. Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich. Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections. Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection. Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome. Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba. Luis de Morales, Madonna of the Yarnwinder , Hispanic Society of America, New York City.

Prompt: 糸車の聖母の文脈で、コピーのリストと影響  コピーを説明してください。英語で出力して下さい。

Apsley House
Buenos Aires
Cesare da Sesto
Edinburgh
Fernando Yáñez de la Almedina
Florence
Galleria Nazionale d'Arte Antica
Granada Cathedral
Hernando de los Llanos
Hispanic Society of America
Luis de Morales
Martino Piazza
Munich
National Gallery of Art
Prince's Palace of Monaco
Rest on the Flight into Egypt
Scottish National Gallery
Uffizi
Valencia Cathedral
Worcester Art Museum
Yarn


subsection

糸車の聖母

Madonna of the Yarnwinder , Uffizi, Florence. Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh. Fernando Yáñez de la Almedina, The Holy Family , formerly in the Carlos Grether collection, Buenos Aires Attributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John , National Gallery of Art, Washington, D.C. Hernando de los Llanos, Rest on the Flight into Egypt , Valencia Cathedral. Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MA Madonna of the Yarnwinder, Granada Cathedral. Madonna of the Yarnwinder , Apsley House, London. Madonna of the Yarnwinder, Prince's Palace of Monaco. Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich. Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections. Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection. Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome. Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba. Luis de Morales, Madonna of the Yarnwinder , Hispanic Society of America, New York City.

Prompt: 糸車の聖母の影響  コピーに関するコピーのリストを説明してください。英語で出力して下さい。

Apsley House
Buenos Aires
Cesare da Sesto
Edinburgh
Fernando Yáñez de la Almedina
Florence
Galleria Nazionale d'Arte Antica
Granada Cathedral
Hernando de los Llanos
Hispanic Society of America
Luis de Morales
Martino Piazza
Munich
National Gallery of Art
Prince's Palace of Monaco
Rest on the Flight into Egypt
Scottish National Gallery
Uffizi
Valencia Cathedral
Worcester Art Museum
Yarn


subsection

糸車の聖母

Madonna of the Yarnwinder , Uffizi, Florence. Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh. Fernando Yáñez de la Almedina, The Holy Family , formerly in the Carlos Grether collection, Buenos Aires Attributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John , National Gallery of Art, Washington, D.C. Hernando de los Llanos, Rest on the Flight into Egypt , Valencia Cathedral. Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MA Madonna of the Yarnwinder, Granada Cathedral. Madonna of the Yarnwinder , Apsley House, London. Madonna of the Yarnwinder, Prince's Palace of Monaco. Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich. Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections. Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection. Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome. Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba. Luis de Morales, Madonna of the Yarnwinder , Hispanic Society of America, New York City.

Prompt: 糸車の聖母では、どのように影響  コピーのコピーのリストが説明されていますか？英語で出力して下さい。

Apsley House
Buenos Aires
Cesare da Sesto
Edinburgh
Fernando Yáñez de la Almedina
Florence
Galleria Nazionale d'Arte Antica
Granada Cathedral
Hernando de los Llanos
Hispanic Society of America
Luis de Morales
Martino Piazza
Munich
National Gallery of Art
Prince's Palace of Monaco
Rest on the Flight into Egypt
Scottish National Gallery
Uffizi
Valencia Cathedral
Worcester Art Museum
Yarn


subsection

糸車の聖母

Madonna of the Yarnwinder , Uffizi, Florence. Attributed to Fernando Yáñez de la Almedina, Madonna of the Yarnwinder, Scottish National Gallery, Edinburgh. Fernando Yáñez de la Almedina, The Holy Family , formerly in the Carlos Grether collection, Buenos Aires Attributed to Fernando Yáñez de la Almedina, Madonna and Child with the Infant St John , National Gallery of Art, Washington, D.C. Hernando de los Llanos, Rest on the Flight into Egypt , Valencia Cathedral. Madonna of the Yarnwinder, Worcester Art Museum, Worcester, MA Madonna of the Yarnwinder, Granada Cathedral. Madonna of the Yarnwinder , Apsley House, London. Madonna of the Yarnwinder, Prince's Palace of Monaco. Madonna of the Yarnwinder, Wittelsbacher Ausgleichsfonds, Munich. Attributed to Cesare da Sesto, Madonna of the Yarnwinder, two versions in private collections. Attributed to Cornelius van Cleve, Madonna of the Yarnwinder, private collection. Attributed to Martino Piazza da Lodi, Madonna of the Yarnwinder, Galleria Nazionale d'Arte Antica, Rome. Madonna of the Yarnwinder with St John, Tobias and the Angel and a Fruit Bowl, Museo de Bellas Artes, Córdoba. Luis de Morales, Madonna of the Yarnwinder , Hispanic Society of America, New York City.

Prompt: 糸車の聖母の影響  コピーにおけるコピーのリストの特徴を説明してください。英語で出力して下さい。

Apsley House
Buenos Aires
Cesare da Sesto
Edinburgh
Fernando Yáñez de la Almedina
Florence
Galleria Nazionale d'Arte Antica
Granada Cathedral
Hernando de los Llanos
Hispanic Society of America
Luis de Morales
Martino Piazza
Munich
National Gallery of Art
Prince's Palace of Monaco
Rest on the Flight into Egypt
Scottish National Gallery
Uffizi
Valencia Cathedral
Worcester Art Museum
Yarn


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

The Madonna and Child with St. Anne  or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms   in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo .

Prompt: 聖アンナと聖母子 (カラヴァッジョ)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

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

The Madonna and Child with St. Anne  or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms   in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo .

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の抽象を説明してください。英語で出力して下さい。


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

The Madonna and Child with St. Anne  or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms   in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo .

Prompt: 聖アンナと聖母子 (カラヴァッジョ)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

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

The Madonna and Child with St. Anne  or Madonna and the Serpent, is one of the mature religious works of the Italian Baroque master Caravaggio, painted in 1605–1606, for the altar of the Archconfraternity of the Papal Grooms   in the Basilica of Saint Peter and taking its theme from Genesis 3:15. The painting was briefly exhibited in the parish church for the Vatican, Sant'Anna dei Palafrenieri, before its removal, due to its unorthodox portrayal of the Virgin Mary. There are a lot of reasons why the piece may have been removed, such as the nudity of the child Jesus and the Virgin Mary revealing too much of her breast. The altarpiece was sold to Cardinal Scipione Borghese and now hangs in his palazzo .

Prompt: 聖アンナと聖母子 (カラヴァッジョ)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

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史を説明してください。英語で出力して下さい。


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)はどのように歴史を説明していますか？英語で出力して下さい。


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Caravaggio received this commission from the Confraternity for Palafrenieri on December 1, 1605. He worked on the piece and completed it in under four months. It is unknown as to why the Confraternity picked Caravaggio to do the altarpiece; it is known that he was paid 25 scudi for the painting, according to a document found by scholar Luigi Spezzaferro, dated October 31st. The altarpiece was placed in the new basilica on April 8 and was removed again on April 16, to the Palafrenieri's Church of St. Anne, a church in honor of St. Anne.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)に関して、どのように歴史が議論されていますか？英語で出力して下さい。


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Prompt: 聖アンナと聖母子 (カラヴァッジョ)に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Prompt: 聖アンナと聖母子 (カラヴァッジョ)はどのように参照を説明していますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


section

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Prompt: 聖アンナと聖母子 (カラヴァッジョ)に関して、どのように参照が議論されていますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の文脈で、モデルと歴史を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史に関するモデルを説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)では、どのように歴史のモデルが説明されていますか？英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

The model that Caravaggio used to depict as the Virgin Mary was named Maddalena Antonietti, also known as Lena. However, this relationship was more serious compared to the other mistresses Caravaggio had. She came from a lower class and modeled for artists to support herself.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史におけるモデルの特徴を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の文脈で、除去と拒絶と歴史を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史に関する除去と拒絶を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)では、どのように歴史の除去と拒絶が説明されていますか？英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Spezzaferro believed that the painting was removed due to the way Caravaggio depicted St. Anne. Caravaggio depicted her as if she were just an ordinary older woman standing next to Mary and Christ.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史における除去と拒絶の特徴を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の文脈で、描写と歴史を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史に関する描写を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)では、どのように歴史の描写が説明されていますか？英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

While not his most successful arrangement, it is an atypical representation of the Virgin Mary for its time and must have been shocking to some contemporary viewers. The depiction of the Virgin Mary, with the aid of her son, whom she holds, tramples and crushes on a serpent, the emblem of evil or original sin. Serpents symbolized heresy which signifies not believing in God. Believing in God was seen as the truth if a person believed in any other representation of a god figure instead of Jesus, it was seen as sinful. Mary and Jesus are crushing the serpent together with their feet and looking down upon the serpent. The snake is coiling up due to rejecting the presence of all three figures. Both Mary and Jesus are barefoot, and Jesus is a fully naked uncircumcised child.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史における描写の特徴を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の文脈で、セントアンと歴史を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史に関するセントアンを説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)では、どのように歴史のセントアンが説明されていますか？英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, who witnesses the event. She is depicted more loosely, sketchily, and thinner than the other two figures. Saint Anne is on the farther right wearing a dark navy-blue dress. She is the mother of the Virgin Mary and the grandmother of Jesus Christ. The Virgin Mary and Saint Anne are depicted with thin gold ring halos. However, Jesus is the only figure who does not have a halo. This is strange because usually in Christian artwork, Jesus is depicted having the brightest halo to draw attention to him, Caravaggio did not do that in this painting.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史におけるセントアンの特徴を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の文脈で、イエスと歴史を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史に関するイエスを説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)では、どのように歴史のイエスが説明されていますか？英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Jesus's left hand is depicted doing a gesture where he is putting his middle finger and thumb together creating a circle. Everything else is in the shadows, and the figures gain monumentality in the light. This depiction is known as tenebrism. The brightest figure in this altarpiece with a lot of highlights is Jesus. The light shines on him due to being the focus and being known as "the light of the world,” stated John Spike. He has more power compared to his mother and grandmother. Mary receives more light compared to Saint Anne because she is standing behind her son. Mary has light hitting more on her because she carried and gave birth to Jesus. Mary and Saint Anne both represent and have a status in the Christian hierarchy, but not a lot of status compared to Jesus. That is why they are both depicted behind Jesus. The serpent is receiving some light due to being crushed by Jesus and the Virgin Mary.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史におけるイエスの特徴を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Caravaggio depicted Jesus' as nude because showing his genitals represents the true human body. Caravaggio and Michelangelo believed that depicting him nude lets the viewers know that Jesus came to be represented as a free human nature from the "Adamic contagion of shame," stated by Leo Steinberg. The contagion of shame was physical health and death.Mary is leaning with her son and her cleavage is showing and she is seen wearing a tight fitted bodice. This iconography of the breast being a tight-fitted bodice came from the medieval period and traditional wear. The symbolism of showing her breast represents Madonna of Mercy’s breast milk. Breast milk is a substance and nutrition that Christ would drink and was seen as a symbol of her role in Co-redemptrix. The breasts of Mary can be compared to Christ’s wounds.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の文脈で、ヌードと歴史を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Caravaggio depicted Jesus' as nude because showing his genitals represents the true human body. Caravaggio and Michelangelo believed that depicting him nude lets the viewers know that Jesus came to be represented as a free human nature from the "Adamic contagion of shame," stated by Leo Steinberg. The contagion of shame was physical health and death.Mary is leaning with her son and her cleavage is showing and she is seen wearing a tight fitted bodice. This iconography of the breast being a tight-fitted bodice came from the medieval period and traditional wear. The symbolism of showing her breast represents Madonna of Mercy’s breast milk. Breast milk is a substance and nutrition that Christ would drink and was seen as a symbol of her role in Co-redemptrix. The breasts of Mary can be compared to Christ’s wounds.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史に関するヌードを説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Caravaggio depicted Jesus' as nude because showing his genitals represents the true human body. Caravaggio and Michelangelo believed that depicting him nude lets the viewers know that Jesus came to be represented as a free human nature from the "Adamic contagion of shame," stated by Leo Steinberg. The contagion of shame was physical health and death.Mary is leaning with her son and her cleavage is showing and she is seen wearing a tight fitted bodice. This iconography of the breast being a tight-fitted bodice came from the medieval period and traditional wear. The symbolism of showing her breast represents Madonna of Mercy’s breast milk. Breast milk is a substance and nutrition that Christ would drink and was seen as a symbol of her role in Co-redemptrix. The breasts of Mary can be compared to Christ’s wounds.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)では、どのように歴史のヌードが説明されていますか？英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Caravaggio depicted Jesus' as nude because showing his genitals represents the true human body. Caravaggio and Michelangelo believed that depicting him nude lets the viewers know that Jesus came to be represented as a free human nature from the "Adamic contagion of shame," stated by Leo Steinberg. The contagion of shame was physical health and death.Mary is leaning with her son and her cleavage is showing and she is seen wearing a tight fitted bodice. This iconography of the breast being a tight-fitted bodice came from the medieval period and traditional wear. The symbolism of showing her breast represents Madonna of Mercy’s breast milk. Breast milk is a substance and nutrition that Christ would drink and was seen as a symbol of her role in Co-redemptrix. The breasts of Mary can be compared to Christ’s wounds.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史におけるヌードの特徴を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Mary in this painting is wearing unusual clothing from her norm; she is usually depicted wearing a veil in blue and a dress in white. At this time young Roman women would wear these dresses. The outfit she is usually seen in multiple paintings is a matronly veil, mantle, and robe. In this painting, Caravaggio depicted her wearing a veil neckline dress where she is revealing too much of her breasts.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の文脈で、聖母マリアの衣服と歴史を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Mary in this painting is wearing unusual clothing from her norm; she is usually depicted wearing a veil in blue and a dress in white. At this time young Roman women would wear these dresses. The outfit she is usually seen in multiple paintings is a matronly veil, mantle, and robe. In this painting, Caravaggio depicted her wearing a veil neckline dress where she is revealing too much of her breasts.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史に関する聖母マリアの衣服を説明してください。英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Mary in this painting is wearing unusual clothing from her norm; she is usually depicted wearing a veil in blue and a dress in white. At this time young Roman women would wear these dresses. The outfit she is usually seen in multiple paintings is a matronly veil, mantle, and robe. In this painting, Caravaggio depicted her wearing a veil neckline dress where she is revealing too much of her breasts.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)では、どのように歴史の聖母マリアの衣服が説明されていますか？英語で出力して下さい。


subsection

聖アンナと聖母子 (カラヴァッジョ)

Madonna and Child with Saint Anne (Dei Palafrenieri)

Mary in this painting is wearing unusual clothing from her norm; she is usually depicted wearing a veil in blue and a dress in white. At this time young Roman women would wear these dresses. The outfit she is usually seen in multiple paintings is a matronly veil, mantle, and robe. In this painting, Caravaggio depicted her wearing a veil neckline dress where she is revealing too much of her breasts.

Prompt: 聖アンナと聖母子 (カラヴァッジョ)の歴史における聖母マリアの衣服の特徴を説明してください。英語で出力して下さい。


section

騎士の夢

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London.  It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.There are a number of theories as to what the panel is intended to represent.  Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus  who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue  and Pleasure ."This sleepy ncelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned  that the reward of virtue is a place among the stars in heaven."However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the tin poet Silius Italicus.The panel was moved to England by William Young Ottley in 1800.Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.

Prompt: 騎士の夢に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Château de Chantilly
London
National Gallery
Raphael
Renaissance
Scipio Aemilianus
Second Punic War
Silius Italicus
Somnium Scipionis
William Young Ottley


section

騎士の夢

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London.  It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.There are a number of theories as to what the panel is intended to represent.  Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus  who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue  and Pleasure ."This sleepy ncelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned  that the reward of virtue is a place among the stars in heaven."However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the tin poet Silius Italicus.The panel was moved to England by William Young Ottley in 1800.Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.

Prompt: 騎士の夢の抽象を説明してください。英語で出力して下さい。

Château de Chantilly
London
National Gallery
Raphael
Renaissance
Scipio Aemilianus
Second Punic War
Silius Italicus
Somnium Scipionis
William Young Ottley


section

騎士の夢

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London.  It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.There are a number of theories as to what the panel is intended to represent.  Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus  who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue  and Pleasure ."This sleepy ncelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned  that the reward of virtue is a place among the stars in heaven."However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the tin poet Silius Italicus.The panel was moved to England by William Young Ottley in 1800.Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.

Prompt: 騎士の夢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。

Château de Chantilly
London
National Gallery
Raphael
Renaissance
Scipio Aemilianus
Second Punic War
Silius Italicus
Somnium Scipionis
William Young Ottley


section

騎士の夢

The Vision of a Knight, also called The Dream of Scipio or Allegory, is a small egg tempera painting on poplar by the Italian Renaissance artist Raphael, finished in 1503–1504. It is in the National Gallery in London.  It probably formed a pair with the Three Graces panel, also 17 cm square, now in the Château de Chantilly museum.There are a number of theories as to what the panel is intended to represent.  Some art historians think the sleeping knight represents the Roman general Scipio Aemilianus  who, according to Cicero's Somnium Scipionis, dreamed that he had to choose between Virtue  and Pleasure ."This sleepy ncelot also conjures up memories of another ancient hero: the Roman general Publius Cornelius Scipio Africanus Aemilianus, who toured the cosmos in a dream and learned  that the reward of virtue is a place among the stars in heaven."However, the two feminine figures are not presented as contestants. They may represent the ideal attributes of the knight: the book, sword, and flower that they hold suggest the ideals of scholar, soldier and lover which a knight should combine.The most likely source for the allegory depicted is from a passage in the Punica, an epic poem recounting the Second Punic War by the tin poet Silius Italicus.The panel was moved to England by William Young Ottley in 1800.Raphael used an extensive palette of paints to depict this colourful scene. Pigments such as lead-tin yellow, ultramarine, verdigris and ochres have been identified in an pigment analysis at ColourLex.

Prompt: 騎士の夢に関して、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。

Château de Chantilly
London
National Gallery
Raphael
Renaissance
Scipio Aemilianus
Second Punic War
Silius Italicus
Somnium Scipionis
William Young Ottley


section

騎士の夢

Prompt: 騎士の夢に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

騎士の夢

Prompt: 騎士の夢の参照を説明してください。英語で出力して下さい。


section

騎士の夢

Prompt: 騎士の夢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

騎士の夢

Prompt: 騎士の夢に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

ラ・フォルナリーナ

The Portrait of a Young Woman  is a painting by the  Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.It is probable that the picture was in the painter's studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano. Art-history tradition or legend identifies the woman as the fornarina   Margherita Luti, Raphael's Roman lover who refused to marry him, though this identification has been questioned. An alternative view sees the work not as a portrait of a specific woman, but rather as Raphael's interpretation of a belle donne genre and a depiction of a courtesan. Still another interpretation identifies the figure as a witch.

Prompt: ラ・フォルナリーナに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Galleria Nazionale d'Arte Antica
Giulio Romano
High Renaissance
Palazzo Barberini
Raphael
Rome


section

ラ・フォルナリーナ

The Portrait of a Young Woman  is a painting by the  Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.It is probable that the picture was in the painter's studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano. Art-history tradition or legend identifies the woman as the fornarina   Margherita Luti, Raphael's Roman lover who refused to marry him, though this identification has been questioned. An alternative view sees the work not as a portrait of a specific woman, but rather as Raphael's interpretation of a belle donne genre and a depiction of a courtesan. Still another interpretation identifies the figure as a witch.

Prompt: ラ・フォルナリーナの抽象を説明してください。英語で出力して下さい。

Galleria Nazionale d'Arte Antica
Giulio Romano
High Renaissance
Palazzo Barberini
Raphael
Rome


section

ラ・フォルナリーナ

The Portrait of a Young Woman  is a painting by the  Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.It is probable that the picture was in the painter's studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano. Art-history tradition or legend identifies the woman as the fornarina   Margherita Luti, Raphael's Roman lover who refused to marry him, though this identification has been questioned. An alternative view sees the work not as a portrait of a specific woman, but rather as Raphael's interpretation of a belle donne genre and a depiction of a courtesan. Still another interpretation identifies the figure as a witch.

Prompt: ラ・フォルナリーナはどのように抽象を説明していますか？英語で出力して下さい。

Galleria Nazionale d'Arte Antica
Giulio Romano
High Renaissance
Palazzo Barberini
Raphael
Rome


section

ラ・フォルナリーナ

The Portrait of a Young Woman  is a painting by the  Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.It is probable that the picture was in the painter's studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano. Art-history tradition or legend identifies the woman as the fornarina   Margherita Luti, Raphael's Roman lover who refused to marry him, though this identification has been questioned. An alternative view sees the work not as a portrait of a specific woman, but rather as Raphael's interpretation of a belle donne genre and a depiction of a courtesan. Still another interpretation identifies the figure as a witch.

Prompt: ラ・フォルナリーナに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Galleria Nazionale d'Arte Antica
Giulio Romano
High Renaissance
Palazzo Barberini
Raphael
Rome


section

ラ・フォルナリーナ

List of paintings by Raphael  velata, another Raphael painting of the same sitter

Prompt: ラ・フォルナリーナに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ラ・フォルナリーナ

List of paintings by Raphael  velata, another Raphael painting of the same sitter

Prompt: ラ・フォルナリーナの参照を説明してください。英語で出力して下さい。


section

ラ・フォルナリーナ

List of paintings by Raphael  velata, another Raphael painting of the same sitter

Prompt: ラ・フォルナリーナはどのように参照を説明していますか？英語で出力して下さい。


section

ラ・フォルナリーナ

List of paintings by Raphael  velata, another Raphael painting of the same sitter

Prompt: ラ・フォルナリーナに関して、どのように参照が議論されていますか？英語で出力して下さい。


subsection

ラ・フォルナリーナ

The painting depicts a nude woman wearing a thin veil to cover her lower abdomen and is seen half covering her left breast. She wears a blue and yellow turban over her dark hair; a thicker red cloth covers her legs and genital region. The figure appears healthy with smooth skin, full proportions and a faint pink tint in her cheeks. Her eyes are looking towards the left, and she wears a small, possibly amused smile.  Fornarina is also wearing an armband engraved with the painter's signature, "Raphael Vrbinas".

Prompt: ラ・フォルナリーナの文脈で、絵画の説明とヌルを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

The painting depicts a nude woman wearing a thin veil to cover her lower abdomen and is seen half covering her left breast. She wears a blue and yellow turban over her dark hair; a thicker red cloth covers her legs and genital region. The figure appears healthy with smooth skin, full proportions and a faint pink tint in her cheeks. Her eyes are looking towards the left, and she wears a small, possibly amused smile.  Fornarina is also wearing an armband engraved with the painter's signature, "Raphael Vrbinas".

Prompt: ラ・フォルナリーナのヌルに関する絵画の説明を説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

The painting depicts a nude woman wearing a thin veil to cover her lower abdomen and is seen half covering her left breast. She wears a blue and yellow turban over her dark hair; a thicker red cloth covers her legs and genital region. The figure appears healthy with smooth skin, full proportions and a faint pink tint in her cheeks. Her eyes are looking towards the left, and she wears a small, possibly amused smile.  Fornarina is also wearing an armband engraved with the painter's signature, "Raphael Vrbinas".

Prompt: ラ・フォルナリーナでは、どのようにヌルの絵画の説明が説明されていますか？英語で出力して下さい。


subsection

ラ・フォルナリーナ

The painting depicts a nude woman wearing a thin veil to cover her lower abdomen and is seen half covering her left breast. She wears a blue and yellow turban over her dark hair; a thicker red cloth covers her legs and genital region. The figure appears healthy with smooth skin, full proportions and a faint pink tint in her cheeks. Her eyes are looking towards the left, and she wears a small, possibly amused smile.  Fornarina is also wearing an armband engraved with the painter's signature, "Raphael Vrbinas".

Prompt: ラ・フォルナリーナのヌルにおける絵画の説明の特徴を説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

X-ray analyses have shown that in the background was originally a Leonardesque-style landscape in place of the myrtle bush, which was sacred to Venus, goddess of love and passion.  An overpainted ruby ring on the sitter's third left finger has caused speculation on whether there might have been a secret marriage with Raphael.

Prompt: ラ・フォルナリーナの文脈で、テクニカル分析とヌルを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

X-ray analyses have shown that in the background was originally a Leonardesque-style landscape in place of the myrtle bush, which was sacred to Venus, goddess of love and passion.  An overpainted ruby ring on the sitter's third left finger has caused speculation on whether there might have been a secret marriage with Raphael.

Prompt: ラ・フォルナリーナのヌルに関するテクニカル分析を説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

X-ray analyses have shown that in the background was originally a Leonardesque-style landscape in place of the myrtle bush, which was sacred to Venus, goddess of love and passion.  An overpainted ruby ring on the sitter's third left finger has caused speculation on whether there might have been a secret marriage with Raphael.

Prompt: ラ・フォルナリーナでは、どのようにヌルのテクニカル分析が説明されていますか？英語で出力して下さい。


subsection

ラ・フォルナリーナ

X-ray analyses have shown that in the background was originally a Leonardesque-style landscape in place of the myrtle bush, which was sacred to Venus, goddess of love and passion.  An overpainted ruby ring on the sitter's third left finger has caused speculation on whether there might have been a secret marriage with Raphael.

Prompt: ラ・フォルナリーナのヌルにおけるテクニカル分析の特徴を説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

According to an explanation on the museum website, there are two copies of  Fornarina in the Borghese Gallery in Rome. " Fornarina  is a painting by the Italian High Renaissance master Raphael, made between 1518 and 1519. It is an oil-on-panel with 86 x 58 cm dimensions, located in Room IX of the Borghese Gallery.In Olimpia Aldobrandini’s two inventories , the art work is attributed to Raphael. It is, however, a copy after the famous portrait entitled  Fornarina, now in the Galleria Barberini in Rome." The other copy is "attributed to Giulio Romano, came to the Galleria Borghese with the fidei-commissum of 1833. This work of art has been recently ascribed to Raffaellino del Colle. The picture was likely within the painter’s studio at his death in 1520, which was adjusted and sold by his assistant Giulio Romano. In the 16th century, the picture was within the house of the Countess of Santafiora, a Roman noblewoman, and in this way got to be the property of Duke Boncompagni and then of the Galleria Nazionale, which still has it." This second copy is almost the same as the original painting in the Galleria Barberini except that there is no ring on her left, fourth finger.

Prompt: ラ・フォルナリーナの文脈で、コピーとヌルを説明してください。英語で出力して下さい。

Giulio Romano
High Renaissance
Raphael
Rome


subsection

ラ・フォルナリーナ

According to an explanation on the museum website, there are two copies of  Fornarina in the Borghese Gallery in Rome. " Fornarina  is a painting by the Italian High Renaissance master Raphael, made between 1518 and 1519. It is an oil-on-panel with 86 x 58 cm dimensions, located in Room IX of the Borghese Gallery.In Olimpia Aldobrandini’s two inventories , the art work is attributed to Raphael. It is, however, a copy after the famous portrait entitled  Fornarina, now in the Galleria Barberini in Rome." The other copy is "attributed to Giulio Romano, came to the Galleria Borghese with the fidei-commissum of 1833. This work of art has been recently ascribed to Raffaellino del Colle. The picture was likely within the painter’s studio at his death in 1520, which was adjusted and sold by his assistant Giulio Romano. In the 16th century, the picture was within the house of the Countess of Santafiora, a Roman noblewoman, and in this way got to be the property of Duke Boncompagni and then of the Galleria Nazionale, which still has it." This second copy is almost the same as the original painting in the Galleria Barberini except that there is no ring on her left, fourth finger.

Prompt: ラ・フォルナリーナのヌルに関するコピーを説明してください。英語で出力して下さい。

Giulio Romano
High Renaissance
Raphael
Rome


subsection

ラ・フォルナリーナ

According to an explanation on the museum website, there are two copies of  Fornarina in the Borghese Gallery in Rome. " Fornarina  is a painting by the Italian High Renaissance master Raphael, made between 1518 and 1519. It is an oil-on-panel with 86 x 58 cm dimensions, located in Room IX of the Borghese Gallery.In Olimpia Aldobrandini’s two inventories , the art work is attributed to Raphael. It is, however, a copy after the famous portrait entitled  Fornarina, now in the Galleria Barberini in Rome." The other copy is "attributed to Giulio Romano, came to the Galleria Borghese with the fidei-commissum of 1833. This work of art has been recently ascribed to Raffaellino del Colle. The picture was likely within the painter’s studio at his death in 1520, which was adjusted and sold by his assistant Giulio Romano. In the 16th century, the picture was within the house of the Countess of Santafiora, a Roman noblewoman, and in this way got to be the property of Duke Boncompagni and then of the Galleria Nazionale, which still has it." This second copy is almost the same as the original painting in the Galleria Barberini except that there is no ring on her left, fourth finger.

Prompt: ラ・フォルナリーナでは、どのようにヌルのコピーが説明されていますか？英語で出力して下さい。

Giulio Romano
High Renaissance
Raphael
Rome


subsection

ラ・フォルナリーナ

According to an explanation on the museum website, there are two copies of  Fornarina in the Borghese Gallery in Rome. " Fornarina  is a painting by the Italian High Renaissance master Raphael, made between 1518 and 1519. It is an oil-on-panel with 86 x 58 cm dimensions, located in Room IX of the Borghese Gallery.In Olimpia Aldobrandini’s two inventories , the art work is attributed to Raphael. It is, however, a copy after the famous portrait entitled  Fornarina, now in the Galleria Barberini in Rome." The other copy is "attributed to Giulio Romano, came to the Galleria Borghese with the fidei-commissum of 1833. This work of art has been recently ascribed to Raffaellino del Colle. The picture was likely within the painter’s studio at his death in 1520, which was adjusted and sold by his assistant Giulio Romano. In the 16th century, the picture was within the house of the Countess of Santafiora, a Roman noblewoman, and in this way got to be the property of Duke Boncompagni and then of the Galleria Nazionale, which still has it." This second copy is almost the same as the original painting in the Galleria Barberini except that there is no ring on her left, fourth finger.

Prompt: ラ・フォルナリーナのヌルにおけるコピーの特徴を説明してください。英語で出力して下さい。

Giulio Romano
High Renaissance
Raphael
Rome


subsection

ラ・フォルナリーナ

Joanna Woods-Marsden has chosen to view the painting through the belle donne theme, describing it as a representation of idealistic beauty. With this interpretation, it is more likely that a viewer could assume that this is not Raphael’s lover, but instead a prostitute or simply his personal representation of beauty. With this chosen theme, the figure should be described simply as a nude woman  or a "half Venus, nude". Both descriptions imply a sense of beauty; if she were an unknown nude prostitute, she was beautiful enough to catch Raphael's eye and inspire him to create an entire portrait of her. If she is a “half Venus, nude,” she is a representation of the most beautiful goddess to ever exist; she is the embodiment of love, beauty, desire and ultimately, sex. During the Renaissance, beauty was equated to nakedness and the nude, for if a woman was naked she was captivating and sexually exciting to the artist and ultimately, the viewer. She is posed in a way that is reminiscent of the Venus pudica pose, enticing the viewer to look upon her naked body and imagine what she is hiding behind her thin drape. The Venus pudica pose is inspired by ancient sculptures of Venus in which the goddess is nude, but keeps her breasts and genitalia covered with either a hand or thin drape. Raphael makes the woman more risqué by enlarging her breasts, hardening her nipples, and giving her a possible flirty yet shy glance towards the viewer.

Prompt: ラ・フォルナリーナの文脈で、ベルドネットテーマとヌルを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Joanna Woods-Marsden has chosen to view the painting through the belle donne theme, describing it as a representation of idealistic beauty. With this interpretation, it is more likely that a viewer could assume that this is not Raphael’s lover, but instead a prostitute or simply his personal representation of beauty. With this chosen theme, the figure should be described simply as a nude woman  or a "half Venus, nude". Both descriptions imply a sense of beauty; if she were an unknown nude prostitute, she was beautiful enough to catch Raphael's eye and inspire him to create an entire portrait of her. If she is a “half Venus, nude,” she is a representation of the most beautiful goddess to ever exist; she is the embodiment of love, beauty, desire and ultimately, sex. During the Renaissance, beauty was equated to nakedness and the nude, for if a woman was naked she was captivating and sexually exciting to the artist and ultimately, the viewer. She is posed in a way that is reminiscent of the Venus pudica pose, enticing the viewer to look upon her naked body and imagine what she is hiding behind her thin drape. The Venus pudica pose is inspired by ancient sculptures of Venus in which the goddess is nude, but keeps her breasts and genitalia covered with either a hand or thin drape. Raphael makes the woman more risqué by enlarging her breasts, hardening her nipples, and giving her a possible flirty yet shy glance towards the viewer.

Prompt: ラ・フォルナリーナのヌルに関するベルドネットテーマを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Joanna Woods-Marsden has chosen to view the painting through the belle donne theme, describing it as a representation of idealistic beauty. With this interpretation, it is more likely that a viewer could assume that this is not Raphael’s lover, but instead a prostitute or simply his personal representation of beauty. With this chosen theme, the figure should be described simply as a nude woman  or a "half Venus, nude". Both descriptions imply a sense of beauty; if she were an unknown nude prostitute, she was beautiful enough to catch Raphael's eye and inspire him to create an entire portrait of her. If she is a “half Venus, nude,” she is a representation of the most beautiful goddess to ever exist; she is the embodiment of love, beauty, desire and ultimately, sex. During the Renaissance, beauty was equated to nakedness and the nude, for if a woman was naked she was captivating and sexually exciting to the artist and ultimately, the viewer. She is posed in a way that is reminiscent of the Venus pudica pose, enticing the viewer to look upon her naked body and imagine what she is hiding behind her thin drape. The Venus pudica pose is inspired by ancient sculptures of Venus in which the goddess is nude, but keeps her breasts and genitalia covered with either a hand or thin drape. Raphael makes the woman more risqué by enlarging her breasts, hardening her nipples, and giving her a possible flirty yet shy glance towards the viewer.

Prompt: ラ・フォルナリーナでは、どのようにヌルのベルドネットテーマが説明されていますか？英語で出力して下さい。


subsection

ラ・フォルナリーナ

Joanna Woods-Marsden has chosen to view the painting through the belle donne theme, describing it as a representation of idealistic beauty. With this interpretation, it is more likely that a viewer could assume that this is not Raphael’s lover, but instead a prostitute or simply his personal representation of beauty. With this chosen theme, the figure should be described simply as a nude woman  or a "half Venus, nude". Both descriptions imply a sense of beauty; if she were an unknown nude prostitute, she was beautiful enough to catch Raphael's eye and inspire him to create an entire portrait of her. If she is a “half Venus, nude,” she is a representation of the most beautiful goddess to ever exist; she is the embodiment of love, beauty, desire and ultimately, sex. During the Renaissance, beauty was equated to nakedness and the nude, for if a woman was naked she was captivating and sexually exciting to the artist and ultimately, the viewer. She is posed in a way that is reminiscent of the Venus pudica pose, enticing the viewer to look upon her naked body and imagine what she is hiding behind her thin drape. The Venus pudica pose is inspired by ancient sculptures of Venus in which the goddess is nude, but keeps her breasts and genitalia covered with either a hand or thin drape. Raphael makes the woman more risqué by enlarging her breasts, hardening her nipples, and giving her a possible flirty yet shy glance towards the viewer.

Prompt: ラ・フォルナリーナのヌルにおけるベルドネットテーマの特徴を説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Another interpretation of the woman's identity assumes her to be Raphael's lover named Margherita; the figure's father was a baker and thus earned her the nickname of  Fornarina. According to Giorgio Vasari. Margherita supposedly refused to marry Raphael every time he asked. She was his muse

Prompt: ラ・フォルナリーナの文脈で、ラファエルの恋人とヌルを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Another interpretation of the woman's identity assumes her to be Raphael's lover named Margherita; the figure's father was a baker and thus earned her the nickname of  Fornarina. According to Giorgio Vasari. Margherita supposedly refused to marry Raphael every time he asked. She was his muse

Prompt: ラ・フォルナリーナのヌルに関するラファエルの恋人を説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Another interpretation of the woman's identity assumes her to be Raphael's lover named Margherita; the figure's father was a baker and thus earned her the nickname of  Fornarina. According to Giorgio Vasari. Margherita supposedly refused to marry Raphael every time he asked. She was his muse

Prompt: ラ・フォルナリーナでは、どのようにヌルのラファエルの恋人が説明されていますか？英語で出力して下さい。


subsection

ラ・フォルナリーナ

Another interpretation of the woman's identity assumes her to be Raphael's lover named Margherita; the figure's father was a baker and thus earned her the nickname of  Fornarina. According to Giorgio Vasari. Margherita supposedly refused to marry Raphael every time he asked. She was his muse

Prompt: ラ・フォルナリーナのヌルにおけるラファエルの恋人の特徴を説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Positioned a quarter of the way away from the viewer, it has been suggested by professor Carlos Hugo Espinel that the right hand over the left breast reveals a cancerous breast tumor. Even with the positioning, one can identify differences between her two breasts. The right breast is perceived as a fully formed and proportional breast, accompanied by healthy-looking skin and an unremarkable nipple upon a normal-looking areola. The viewer is given a better look at the left breast due to her positioning and thus can identify more problematic aspects that might not appear in the right breast. With the side view of the left breast, a viewer can see that it is enlarged and deformed by an indentation on the lower rim of the breast; the indentation begins where a possible mass ends. The mass extends from the woman’s armpit medially along the lower half of her breast, and is seen to reach its apex at the spot just above her right index finger. Further evidence to a possible cancer is the sickly-blue hue to the skin of the left breast in relation to the healthy, pink undertones of the right one; the coloring is most prominent on the indentation and suspected tumor, but extends slightly above and below this area to the rest of the breast. Another possible indication of a cancerous tumor is that her left arm is swollen as a result of a lymph node in her armpit being enlarged. Enlarged lymph nodes and swelling are possible signs of a cancer diagnosis once metastasized.

Prompt: ラ・フォルナリーナの文脈で、乳がんとヌルを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Positioned a quarter of the way away from the viewer, it has been suggested by professor Carlos Hugo Espinel that the right hand over the left breast reveals a cancerous breast tumor. Even with the positioning, one can identify differences between her two breasts. The right breast is perceived as a fully formed and proportional breast, accompanied by healthy-looking skin and an unremarkable nipple upon a normal-looking areola. The viewer is given a better look at the left breast due to her positioning and thus can identify more problematic aspects that might not appear in the right breast. With the side view of the left breast, a viewer can see that it is enlarged and deformed by an indentation on the lower rim of the breast; the indentation begins where a possible mass ends. The mass extends from the woman’s armpit medially along the lower half of her breast, and is seen to reach its apex at the spot just above her right index finger. Further evidence to a possible cancer is the sickly-blue hue to the skin of the left breast in relation to the healthy, pink undertones of the right one; the coloring is most prominent on the indentation and suspected tumor, but extends slightly above and below this area to the rest of the breast. Another possible indication of a cancerous tumor is that her left arm is swollen as a result of a lymph node in her armpit being enlarged. Enlarged lymph nodes and swelling are possible signs of a cancer diagnosis once metastasized.

Prompt: ラ・フォルナリーナのヌルに関する乳がんを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Positioned a quarter of the way away from the viewer, it has been suggested by professor Carlos Hugo Espinel that the right hand over the left breast reveals a cancerous breast tumor. Even with the positioning, one can identify differences between her two breasts. The right breast is perceived as a fully formed and proportional breast, accompanied by healthy-looking skin and an unremarkable nipple upon a normal-looking areola. The viewer is given a better look at the left breast due to her positioning and thus can identify more problematic aspects that might not appear in the right breast. With the side view of the left breast, a viewer can see that it is enlarged and deformed by an indentation on the lower rim of the breast; the indentation begins where a possible mass ends. The mass extends from the woman’s armpit medially along the lower half of her breast, and is seen to reach its apex at the spot just above her right index finger. Further evidence to a possible cancer is the sickly-blue hue to the skin of the left breast in relation to the healthy, pink undertones of the right one; the coloring is most prominent on the indentation and suspected tumor, but extends slightly above and below this area to the rest of the breast. Another possible indication of a cancerous tumor is that her left arm is swollen as a result of a lymph node in her armpit being enlarged. Enlarged lymph nodes and swelling are possible signs of a cancer diagnosis once metastasized.

Prompt: ラ・フォルナリーナでは、どのようにヌルの乳がんが説明されていますか？英語で出力して下さい。


subsection

ラ・フォルナリーナ

Positioned a quarter of the way away from the viewer, it has been suggested by professor Carlos Hugo Espinel that the right hand over the left breast reveals a cancerous breast tumor. Even with the positioning, one can identify differences between her two breasts. The right breast is perceived as a fully formed and proportional breast, accompanied by healthy-looking skin and an unremarkable nipple upon a normal-looking areola. The viewer is given a better look at the left breast due to her positioning and thus can identify more problematic aspects that might not appear in the right breast. With the side view of the left breast, a viewer can see that it is enlarged and deformed by an indentation on the lower rim of the breast; the indentation begins where a possible mass ends. The mass extends from the woman’s armpit medially along the lower half of her breast, and is seen to reach its apex at the spot just above her right index finger. Further evidence to a possible cancer is the sickly-blue hue to the skin of the left breast in relation to the healthy, pink undertones of the right one; the coloring is most prominent on the indentation and suspected tumor, but extends slightly above and below this area to the rest of the breast. Another possible indication of a cancerous tumor is that her left arm is swollen as a result of a lymph node in her armpit being enlarged. Enlarged lymph nodes and swelling are possible signs of a cancer diagnosis once metastasized.

Prompt: ラ・フォルナリーナのヌルにおける乳がんの特徴を説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Muriel Segal's book Painted dies provides the theory that  Fornarina represents a witch. According to the author, during the time period that this painting was made, “the baker’s daughter” did not indicate that a woman's father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare’s Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess. The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that  Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal's interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil, the women who practiced magic did so to support themselves by providing potions and spells for her patrons' desires. The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts . Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist’s paintings.

Prompt: ラ・フォルナリーナの文脈で、ラ・フォルナリーナ, 魔女とヌルを説明してください。英語で出力して下さい。

Hamlet
Jacob Burckhardt
Ophelia
Raphael
Satan


subsection

ラ・フォルナリーナ

Muriel Segal's book Painted dies provides the theory that  Fornarina represents a witch. According to the author, during the time period that this painting was made, “the baker’s daughter” did not indicate that a woman's father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare’s Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess. The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that  Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal's interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil, the women who practiced magic did so to support themselves by providing potions and spells for her patrons' desires. The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts . Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist’s paintings.

Prompt: ラ・フォルナリーナのヌルに関するラ・フォルナリーナ, 魔女を説明してください。英語で出力して下さい。

Hamlet
Jacob Burckhardt
Ophelia
Raphael
Satan


subsection

ラ・フォルナリーナ

Muriel Segal's book Painted dies provides the theory that  Fornarina represents a witch. According to the author, during the time period that this painting was made, “the baker’s daughter” did not indicate that a woman's father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare’s Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess. The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that  Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal's interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil, the women who practiced magic did so to support themselves by providing potions and spells for her patrons' desires. The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts . Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist’s paintings.

Prompt: ラ・フォルナリーナでは、どのようにヌルのラ・フォルナリーナ, 魔女が説明されていますか？英語で出力して下さい。

Hamlet
Jacob Burckhardt
Ophelia
Raphael
Satan


subsection

ラ・フォルナリーナ

Muriel Segal's book Painted dies provides the theory that  Fornarina represents a witch. According to the author, during the time period that this painting was made, “the baker’s daughter” did not indicate that a woman's father was in fact a baker, but a term used for a malevolent goddess. The goddess, referenced in Shakespeare’s Ophelia character in the play Hamlet, is said to have been a cannibal owl-goddess. The owl-goddess is not specified in the play, but supposedly originates from hell; during this time, witches were seen as servants of Satan who practiced satanic magic. Segal states that  Fornarina was more fond of black cats than children, which at the time was not common because the main goal of most was to get married and procreate. Segal's interpretation differs from the belle donne theme in that she believes the figure herself is a witch and not a general depiction of witches. Jacob Burckhardt analyzes witch craft as neither good or evil, the women who practiced magic did so to support themselves by providing potions and spells for her patrons' desires. The physical features of Fornarina are completely unlike other painted women of the time; she was more healthy-looking with ample body parts . Segal says the reason for this was because Raphael hated the wraith-like bodies that were the subjects of other artist’s paintings.

Prompt: ラ・フォルナリーナのヌルにおけるラ・フォルナリーナ, 魔女の特徴を説明してください。英語で出力して下さい。

Hamlet
Jacob Burckhardt
Ophelia
Raphael
Satan


subsection

ラ・フォルナリーナ

Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look. The placement of her slightly open righthand on her left breast shows her nipple and a good amount of her breast; she seems to be teasing the viewer in order to entice them to come closer. The softer facial expression gives an air of familiarity between the subject and the viewer; she is not blank and staring into the eyes of the viewer like portraits of wealthy women, but rather is looking towards the viewer with a half smile like a passing acquaintance. The subject is wearing a yellow scarf across her head that during the Renaissance implied that the woman was a sex worker. Yellow scarves were a requirement for "dishonest women" to wear, these women were ones who willingly took off their clothing for artists which resulted in inspiration for much of the nude art pieces during the Renaissance. If a woman was wearing a yellow scarf across her head, she could show her naked body without prosecution. Courtesans were widely used in European culture beginning during the Renaissance; their existence and their depiction was a way for people to explore sexual relationships based on the ideals of classical writings on the subject.

Prompt: ラ・フォルナリーナの文脈で、セックスワークとヌルを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look. The placement of her slightly open righthand on her left breast shows her nipple and a good amount of her breast; she seems to be teasing the viewer in order to entice them to come closer. The softer facial expression gives an air of familiarity between the subject and the viewer; she is not blank and staring into the eyes of the viewer like portraits of wealthy women, but rather is looking towards the viewer with a half smile like a passing acquaintance. The subject is wearing a yellow scarf across her head that during the Renaissance implied that the woman was a sex worker. Yellow scarves were a requirement for "dishonest women" to wear, these women were ones who willingly took off their clothing for artists which resulted in inspiration for much of the nude art pieces during the Renaissance. If a woman was wearing a yellow scarf across her head, she could show her naked body without prosecution. Courtesans were widely used in European culture beginning during the Renaissance; their existence and their depiction was a way for people to explore sexual relationships based on the ideals of classical writings on the subject.

Prompt: ラ・フォルナリーナのヌルに関するセックスワークを説明してください。英語で出力して下さい。


subsection

ラ・フォルナリーナ

Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look. The placement of her slightly open righthand on her left breast shows her nipple and a good amount of her breast; she seems to be teasing the viewer in order to entice them to come closer. The softer facial expression gives an air of familiarity between the subject and the viewer; she is not blank and staring into the eyes of the viewer like portraits of wealthy women, but rather is looking towards the viewer with a half smile like a passing acquaintance. The subject is wearing a yellow scarf across her head that during the Renaissance implied that the woman was a sex worker. Yellow scarves were a requirement for "dishonest women" to wear, these women were ones who willingly took off their clothing for artists which resulted in inspiration for much of the nude art pieces during the Renaissance. If a woman was wearing a yellow scarf across her head, she could show her naked body without prosecution. Courtesans were widely used in European culture beginning during the Renaissance; their existence and their depiction was a way for people to explore sexual relationships based on the ideals of classical writings on the subject.

Prompt: ラ・フォルナリーナでは、どのようにヌルのセックスワークが説明されていますか？英語で出力して下さい。


subsection

ラ・フォルナリーナ

Another theory is that Fornarina was in fact a sex worker and not Raphael's lover. However, Raphael's "signature" on the figure's armband could imply that he did have love for the figure, and possibly felt ownership of the woman. In the painting, the figure is half nude and is wearing a suggestive smile, almost in a "come hither" look. The placement of her slightly open righthand on her left breast shows her nipple and a good amount of her breast; she seems to be teasing the viewer in order to entice them to come closer. The softer facial expression gives an air of familiarity between the subject and the viewer; she is not blank and staring into the eyes of the viewer like portraits of wealthy women, but rather is looking towards the viewer with a half smile like a passing acquaintance. The subject is wearing a yellow scarf across her head that during the Renaissance implied that the woman was a sex worker. Yellow scarves were a requirement for "dishonest women" to wear, these women were ones who willingly took off their clothing for artists which resulted in inspiration for much of the nude art pieces during the Renaissance. If a woman was wearing a yellow scarf across her head, she could show her naked body without prosecution. Courtesans were widely used in European culture beginning during the Renaissance; their existence and their depiction was a way for people to explore sexual relationships based on the ideals of classical writings on the subject.

Prompt: ラ・フォルナリーナのヌルにおけるセックスワークの特徴を説明してください。英語で出力して下さい。


section

シモネッタ・ヴェスプッチの肖像

Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.Simonetta Vespucci was a Genoese noblewoman who married Marco Vespucci of Florence at the age of either 15 or 16, and who was renowned for being the greatest beauty of her age - certainly of the city of Florence. She was admired by all of Florence for her beauty, which later became a legend after her premature death in 1476 at the age of 23. Sandro Botticelli was inspired by her features in The Birth of Venus and Piero di Cosimo was a passionate admirer.

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

Florence
Musée Condé
Piero di Cosimo
Renaissance
Sandro Botticelli
Simonetta Vespucci


section

シモネッタ・ヴェスプッチの肖像

Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.Simonetta Vespucci was a Genoese noblewoman who married Marco Vespucci of Florence at the age of either 15 or 16, and who was renowned for being the greatest beauty of her age - certainly of the city of Florence. She was admired by all of Florence for her beauty, which later became a legend after her premature death in 1476 at the age of 23. Sandro Botticelli was inspired by her features in The Birth of Venus and Piero di Cosimo was a passionate admirer.

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

Florence
Musée Condé
Piero di Cosimo
Renaissance
Sandro Botticelli
Simonetta Vespucci


section

シモネッタ・ヴェスプッチの肖像

Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.Simonetta Vespucci was a Genoese noblewoman who married Marco Vespucci of Florence at the age of either 15 or 16, and who was renowned for being the greatest beauty of her age - certainly of the city of Florence. She was admired by all of Florence for her beauty, which later became a legend after her premature death in 1476 at the age of 23. Sandro Botticelli was inspired by her features in The Birth of Venus and Piero di Cosimo was a passionate admirer.

Prompt: シモネッタ・ヴェスプッチ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。

Florence
Musée Condé
Piero di Cosimo
Renaissance
Sandro Botticelli
Simonetta Vespucci


section

シモネッタ・ヴェスプッチの肖像

Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.Simonetta Vespucci was a Genoese noblewoman who married Marco Vespucci of Florence at the age of either 15 or 16, and who was renowned for being the greatest beauty of her age - certainly of the city of Florence. She was admired by all of Florence for her beauty, which later became a legend after her premature death in 1476 at the age of 23. Sandro Botticelli was inspired by her features in The Birth of Venus and Piero di Cosimo was a passionate admirer.

Prompt: シモネッタ・ヴェスプッチの肖像に関して、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。

Florence
Musée Condé
Piero di Cosimo
Renaissance
Sandro Botticelli
Simonetta Vespucci


section

シモネッタ・ヴェスプッチの肖像

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

Prompt: シモネッタ・ヴェスプッチの肖像に焦点を当てて、そのスタイルを説明してください。英語で出力して下さい。

Cleopatra
Giorgio Vasari
Jan van Eyck
Janus
Paris Bordone
Plutarch
Proserpina