section

メデューズ号の筏

The Raft of the Medusa was first shown at the 1819 Paris Salon, under the title Scène de Naufrage , although its real subject would have been unmistakable for contemporary viewers. The exhibition was sponsored by Louis XVIII and featured nearly 1,300 paintings, 208 sculptures and numerous other engravings and architectural designs. freely translated as "Monsieur Géricault, your shipwreck is certainly no disaster". The critics were divided: the horror and "terribilità" of the subject exercised fascination, but devotees of classicism expressed their distaste for what they described as a "pile of corpses", whose realism they considered a far cry from the "ideal beauty" represented by Girodet's Pygmalion and Galatea, which triumphed the same year. Géricault's work expressed a paradox: how could a hideous subject be translated into a powerful painting, how could the painter reconcile art and reality? Marie-Philippe Coupin de la Couperie, a French painter and contemporary of Géricault, provided one answer: "Monsieur Géricault seems mistaken. The goal of painting is to speak to the soul and the eyes, not to repel." The painting had fervent admirers too, including French writer and art critic Auguste Jal, who praised its political theme, its liberal position–its advancement of the negro and critique of ultra-royalism–and its modernity. The historian Jules Michelet approved: "our whole society is aboard the raft of the Medusa".]]Géricault had deliberately sought to be both politically and artistically confrontational. Critics responded to his aggressive approach in kind, and their reactions were either ones of revulsion or praise, depending on whether the writer's sympathies favoured the Bourbon or Liberal viewpoint. The painting was seen as largely sympathetic to the men on the raft, and thus by extension to the anti-imperial cause adopted by the survivors Savigny and Corréard. According to art critic and curator Karen Wilkin, Géricault's painting acts as a "cynical indictment of the bungling malfeasance of France's post-Napoleonic officialdom, much of which was recruited from the surviving families of the Ancien Régime".The painting generally impressed the viewing public, although its subject matter repelled many, thus denying Géricault the popular acclaim which he had hoped to achieve.Géricault arranged for the painting to be exhibited in London in 1820, where it was shown at William Bullock's Egyptian Hall in Piccadilly, London, from 10 June until the end of the year, and viewed by about 40,000 visitors. The reception in London was more positive than that in Paris, and the painting was hailed as representative of a new direction in French art. It received more positive reviews than when it was shown at the Salon. In part, this was due to the manner of the painting's exhibition: in Paris it had initially been hung high in the Salon Carré—a mistake that Géricault recognised when he saw the work installed—but in London it was placed close to the ground, emphasising its monumental impact. There may have been other reasons for its popularity in England as well, including "a degree of national self-congratulation", the appeal of the painting as lurid entertainment, From the London exhibition Géricault earned close to 20,000 francs, which was his share of the fees charged to visitors, and substantially more than he would have been paid had the French government purchased the work from him. After the London exhibition, Bullock brought the painting to Dublin early in 1821, but the exhibition there was far less successful, in large part due to a competing exhibition of a moving panorama, "The Wreck of the Medusa" by the Marshall brothers firm, which was said to have been painted under the direction of one of the survivors of the disaster.Because of deterioration in the condition of Géricault's original, the Louvre in 1859–60 commissioned two French artists, Pierre-Désiré Guillemet and , to make a full size copy of the original for loan exhibitions.In the autumn of 1939, the Medusa was packed for removal from the Louvre in anticipation of the outbreak of war.  A scenery truck from the Comédie-Française transported the painting to Versailles in the night of 3 September.  Some time later, the Medusa was moved to the Château de Chambord where it remained until after the end of the Second World War.

Prompt: メデューズ号の筏に焦点を当てて、その展示会、レセプションを説明してください。英語で出力して下さい。

Auguste Jal
Château de Chambord
Comédie-Française
Dublin
Egyptian Hall
French art
Jules Michelet
Karen Wilkin
Louvre


section

メデューズ号の筏

The Raft of the Medusa was first shown at the 1819 Paris Salon, under the title Scène de Naufrage , although its real subject would have been unmistakable for contemporary viewers. The exhibition was sponsored by Louis XVIII and featured nearly 1,300 paintings, 208 sculptures and numerous other engravings and architectural designs. freely translated as "Monsieur Géricault, your shipwreck is certainly no disaster". The critics were divided: the horror and "terribilità" of the subject exercised fascination, but devotees of classicism expressed their distaste for what they described as a "pile of corpses", whose realism they considered a far cry from the "ideal beauty" represented by Girodet's Pygmalion and Galatea, which triumphed the same year. Géricault's work expressed a paradox: how could a hideous subject be translated into a powerful painting, how could the painter reconcile art and reality? Marie-Philippe Coupin de la Couperie, a French painter and contemporary of Géricault, provided one answer: "Monsieur Géricault seems mistaken. The goal of painting is to speak to the soul and the eyes, not to repel." The painting had fervent admirers too, including French writer and art critic Auguste Jal, who praised its political theme, its liberal position–its advancement of the negro and critique of ultra-royalism–and its modernity. The historian Jules Michelet approved: "our whole society is aboard the raft of the Medusa".]]Géricault had deliberately sought to be both politically and artistically confrontational. Critics responded to his aggressive approach in kind, and their reactions were either ones of revulsion or praise, depending on whether the writer's sympathies favoured the Bourbon or Liberal viewpoint. The painting was seen as largely sympathetic to the men on the raft, and thus by extension to the anti-imperial cause adopted by the survivors Savigny and Corréard. According to art critic and curator Karen Wilkin, Géricault's painting acts as a "cynical indictment of the bungling malfeasance of France's post-Napoleonic officialdom, much of which was recruited from the surviving families of the Ancien Régime".The painting generally impressed the viewing public, although its subject matter repelled many, thus denying Géricault the popular acclaim which he had hoped to achieve.Géricault arranged for the painting to be exhibited in London in 1820, where it was shown at William Bullock's Egyptian Hall in Piccadilly, London, from 10 June until the end of the year, and viewed by about 40,000 visitors. The reception in London was more positive than that in Paris, and the painting was hailed as representative of a new direction in French art. It received more positive reviews than when it was shown at the Salon. In part, this was due to the manner of the painting's exhibition: in Paris it had initially been hung high in the Salon Carré—a mistake that Géricault recognised when he saw the work installed—but in London it was placed close to the ground, emphasising its monumental impact. There may have been other reasons for its popularity in England as well, including "a degree of national self-congratulation", the appeal of the painting as lurid entertainment, From the London exhibition Géricault earned close to 20,000 francs, which was his share of the fees charged to visitors, and substantially more than he would have been paid had the French government purchased the work from him. After the London exhibition, Bullock brought the painting to Dublin early in 1821, but the exhibition there was far less successful, in large part due to a competing exhibition of a moving panorama, "The Wreck of the Medusa" by the Marshall brothers firm, which was said to have been painted under the direction of one of the survivors of the disaster.Because of deterioration in the condition of Géricault's original, the Louvre in 1859–60 commissioned two French artists, Pierre-Désiré Guillemet and , to make a full size copy of the original for loan exhibitions.In the autumn of 1939, the Medusa was packed for removal from the Louvre in anticipation of the outbreak of war.  A scenery truck from the Comédie-Française transported the painting to Versailles in the night of 3 September.  Some time later, the Medusa was moved to the Château de Chambord where it remained until after the end of the Second World War.

Prompt: メデューズ号の筏の展示会、レセプションを説明してください。英語で出力して下さい。

Auguste Jal
Château de Chambord
Comédie-Française
Dublin
Egyptian Hall
French art
Jules Michelet
Karen Wilkin
Louvre


section

メデューズ号の筏

The Raft of the Medusa was first shown at the 1819 Paris Salon, under the title Scène de Naufrage , although its real subject would have been unmistakable for contemporary viewers. The exhibition was sponsored by Louis XVIII and featured nearly 1,300 paintings, 208 sculptures and numerous other engravings and architectural designs. freely translated as "Monsieur Géricault, your shipwreck is certainly no disaster". The critics were divided: the horror and "terribilità" of the subject exercised fascination, but devotees of classicism expressed their distaste for what they described as a "pile of corpses", whose realism they considered a far cry from the "ideal beauty" represented by Girodet's Pygmalion and Galatea, which triumphed the same year. Géricault's work expressed a paradox: how could a hideous subject be translated into a powerful painting, how could the painter reconcile art and reality? Marie-Philippe Coupin de la Couperie, a French painter and contemporary of Géricault, provided one answer: "Monsieur Géricault seems mistaken. The goal of painting is to speak to the soul and the eyes, not to repel." The painting had fervent admirers too, including French writer and art critic Auguste Jal, who praised its political theme, its liberal position–its advancement of the negro and critique of ultra-royalism–and its modernity. The historian Jules Michelet approved: "our whole society is aboard the raft of the Medusa".]]Géricault had deliberately sought to be both politically and artistically confrontational. Critics responded to his aggressive approach in kind, and their reactions were either ones of revulsion or praise, depending on whether the writer's sympathies favoured the Bourbon or Liberal viewpoint. The painting was seen as largely sympathetic to the men on the raft, and thus by extension to the anti-imperial cause adopted by the survivors Savigny and Corréard. According to art critic and curator Karen Wilkin, Géricault's painting acts as a "cynical indictment of the bungling malfeasance of France's post-Napoleonic officialdom, much of which was recruited from the surviving families of the Ancien Régime".The painting generally impressed the viewing public, although its subject matter repelled many, thus denying Géricault the popular acclaim which he had hoped to achieve.Géricault arranged for the painting to be exhibited in London in 1820, where it was shown at William Bullock's Egyptian Hall in Piccadilly, London, from 10 June until the end of the year, and viewed by about 40,000 visitors. The reception in London was more positive than that in Paris, and the painting was hailed as representative of a new direction in French art. It received more positive reviews than when it was shown at the Salon. In part, this was due to the manner of the painting's exhibition: in Paris it had initially been hung high in the Salon Carré—a mistake that Géricault recognised when he saw the work installed—but in London it was placed close to the ground, emphasising its monumental impact. There may have been other reasons for its popularity in England as well, including "a degree of national self-congratulation", the appeal of the painting as lurid entertainment, From the London exhibition Géricault earned close to 20,000 francs, which was his share of the fees charged to visitors, and substantially more than he would have been paid had the French government purchased the work from him. After the London exhibition, Bullock brought the painting to Dublin early in 1821, but the exhibition there was far less successful, in large part due to a competing exhibition of a moving panorama, "The Wreck of the Medusa" by the Marshall brothers firm, which was said to have been painted under the direction of one of the survivors of the disaster.Because of deterioration in the condition of Géricault's original, the Louvre in 1859–60 commissioned two French artists, Pierre-Désiré Guillemet and , to make a full size copy of the original for loan exhibitions.In the autumn of 1939, the Medusa was packed for removal from the Louvre in anticipation of the outbreak of war.  A scenery truck from the Comédie-Française transported the painting to Versailles in the night of 3 September.  Some time later, the Medusa was moved to the Château de Chambord where it remained until after the end of the Second World War.

Prompt: メデューズ号の筏はどのように展示会、レセプションを説明していますか？英語で出力して下さい。

Auguste Jal
Château de Chambord
Comédie-Française
Dublin
Egyptian Hall
French art
Jules Michelet
Karen Wilkin
Louvre


section

メデューズ号の筏

The Raft of the Medusa was first shown at the 1819 Paris Salon, under the title Scène de Naufrage , although its real subject would have been unmistakable for contemporary viewers. The exhibition was sponsored by Louis XVIII and featured nearly 1,300 paintings, 208 sculptures and numerous other engravings and architectural designs. freely translated as "Monsieur Géricault, your shipwreck is certainly no disaster". The critics were divided: the horror and "terribilità" of the subject exercised fascination, but devotees of classicism expressed their distaste for what they described as a "pile of corpses", whose realism they considered a far cry from the "ideal beauty" represented by Girodet's Pygmalion and Galatea, which triumphed the same year. Géricault's work expressed a paradox: how could a hideous subject be translated into a powerful painting, how could the painter reconcile art and reality? Marie-Philippe Coupin de la Couperie, a French painter and contemporary of Géricault, provided one answer: "Monsieur Géricault seems mistaken. The goal of painting is to speak to the soul and the eyes, not to repel." The painting had fervent admirers too, including French writer and art critic Auguste Jal, who praised its political theme, its liberal position–its advancement of the negro and critique of ultra-royalism–and its modernity. The historian Jules Michelet approved: "our whole society is aboard the raft of the Medusa".]]Géricault had deliberately sought to be both politically and artistically confrontational. Critics responded to his aggressive approach in kind, and their reactions were either ones of revulsion or praise, depending on whether the writer's sympathies favoured the Bourbon or Liberal viewpoint. The painting was seen as largely sympathetic to the men on the raft, and thus by extension to the anti-imperial cause adopted by the survivors Savigny and Corréard. According to art critic and curator Karen Wilkin, Géricault's painting acts as a "cynical indictment of the bungling malfeasance of France's post-Napoleonic officialdom, much of which was recruited from the surviving families of the Ancien Régime".The painting generally impressed the viewing public, although its subject matter repelled many, thus denying Géricault the popular acclaim which he had hoped to achieve.Géricault arranged for the painting to be exhibited in London in 1820, where it was shown at William Bullock's Egyptian Hall in Piccadilly, London, from 10 June until the end of the year, and viewed by about 40,000 visitors. The reception in London was more positive than that in Paris, and the painting was hailed as representative of a new direction in French art. It received more positive reviews than when it was shown at the Salon. In part, this was due to the manner of the painting's exhibition: in Paris it had initially been hung high in the Salon Carré—a mistake that Géricault recognised when he saw the work installed—but in London it was placed close to the ground, emphasising its monumental impact. There may have been other reasons for its popularity in England as well, including "a degree of national self-congratulation", the appeal of the painting as lurid entertainment, From the London exhibition Géricault earned close to 20,000 francs, which was his share of the fees charged to visitors, and substantially more than he would have been paid had the French government purchased the work from him. After the London exhibition, Bullock brought the painting to Dublin early in 1821, but the exhibition there was far less successful, in large part due to a competing exhibition of a moving panorama, "The Wreck of the Medusa" by the Marshall brothers firm, which was said to have been painted under the direction of one of the survivors of the disaster.Because of deterioration in the condition of Géricault's original, the Louvre in 1859–60 commissioned two French artists, Pierre-Désiré Guillemet and , to make a full size copy of the original for loan exhibitions.In the autumn of 1939, the Medusa was packed for removal from the Louvre in anticipation of the outbreak of war.  A scenery truck from the Comédie-Française transported the painting to Versailles in the night of 3 September.  Some time later, the Medusa was moved to the Château de Chambord where it remained until after the end of the Second World War.

Prompt: メデューズ号の筏に関して、どのように展示会、レセプションが議論されていますか？英語で出力して下さい。

Auguste Jal
Château de Chambord
Comédie-Française
Dublin
Egyptian Hall
French art
Jules Michelet
Karen Wilkin
Louvre


section

メデューズ号の筏

In its insistence on portraying an unpleasant truth, The Raft of the Medusa was a landmark in the emerging Romantic movement in French painting, and "laid the foundations of an aesthetic revolution" against the prevailing Neoclassical style.  Géricault's compositional structure and depiction of the figures are classical, but the contrasting turbulence of the subject represents a significant change in artistic direction and creates an important bridge between Neoclassical and Romantic styles. By 1815, Jacques-Louis David, then in exile in Brussels, was both the leading proponent of the popular history painting genre, which he had perfected, and a master of the Neoclassical style. In France, both history painting and the Neoclassical style continued through the work of Antoine-Jean Gros, Jean Auguste Dominique Ingres, François Gérard, Anne-Louis Girodet de Roussy-Trioson, Pierre-Narcisse Guérin—teacher of both Géricault and Delacroix—and other artists who remained committed to the artistic traditions of David and Nicolas Poussin.In his introduction to The Journal of Eugène Delacroix, Hubert Wellington wrote about Delacroix's opinion of the state of French painting just prior to the Salon of 1819. According to Wellington, "The curious blend of classic with realistic outlook which had been imposed by the discipline of David was now losing both animation and interest. The master himself was nearing his end, and exiled in Belgium. His most docile pupil, Girodet, a refined and cultivated classicist, was producing pictures of astonishing frigidity. Gérard, immensely successful painter of portraits under the Empire—some of them admirable—fell in with the new vogue for large pictures of history, but without enthusiasm." Géricault's raft pointedly lacks a hero, and his painting presents no cause beyond sheer survival. The work represents, in the words of Christine Riding, "the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilised man into barbarism". They argue that the artist's choice to do so was not a "last-minute" decision as evidenced by early sketches for the work, including a portrait study of the Haitian model Joseph, and point to Géricault's concerns regarding the "extreme cruelties" of illegal slave trade in the French colonies. Gericault’s choice to place the Black man as the active “hero” deviated from popular ideas about enslaved people. The subject of marine tragedy was undertaken by J. M. W. Turner , who, like many English artists, probably saw Géricault's painting when it was exhibited in London in 1820. His A Disaster at Sea  chronicled a similar incident, this time a British catastrophe, with a swamped vessel and dying figures also placed in the foreground. Placing a person of color in the centre of the drama was revisited by Turner, with similar abolitionist overtones, in his The Slave Ship .The art historian Albert Elsen believed that The Raft of the Medusa and Delacroix's  Massacre at Chios provided the inspiration for the grandiose sweep of Auguste Rodin's monumental sculpture The Gates of Hell. He wrote that "Delacroix's Massacre at Chios and Géricault's Raft of the Medusa confronted Rodin on a heroic scale with the innocent nameless victims of political tragedies ... If Rodin was inspired to rival Michelangelo's st Judgment, he had Géricault's Raft of the Medusa in front of him for encouragement."While Gustave Courbet  could be described as an anti-Romantic painter, his major works like A Burial at Ornans  and The Artist's Studio  owe a debt to The Raft of the Medusa. The influence is not only in Courbet's enormous scale, but in his willingness to portray ordinary people and current political events, and to record people, places and events in real, everyday surroundings. The 2004 exhibition at the Clark Art Institute,  Bonjour Monsieur Courbet: The Bruyas Collection from the Musee Fabre, Montpellier, sought to compare the 19th-century Realist painters Courbet, Honoré Daumier , and early Édouard Manet  with artists associated with Romanticism, including Géricault and Delacroix. Citing The Raft of the Medusa as an instrumental influence on Realism, the exhibition drew comparisons between all of the artists. The critic Michael Fried sees Manet directly borrowing the figure of the man cradling his son for the composition of Angels at the Tomb of Christ.The influence of The Raft of the Medusa was felt by artists beyond France. Francis Danby, a British painter born in Ireland, probably was inspired by Géricault's picture when he painted Sunset at Sea after a Storm in 1824, and wrote in 1829 that The Raft of the Medusa was "the finest and grandest historical picture I have ever seen".The Gulf Stream , by the American artist Winslow Homer , replicates the composition of The Raft of the Medusa with a damaged vessel, ominously surrounded by sharks and threatened by a waterspout. Like Géricault, Homer makes a black man the pivotal figure in the scene, though here he is the vessel's sole occupant. A ship in the distance mirrors the Argus from Géricault's painting. The move from the drama of Romanticism to the new Realism is exemplified by the stoic resignation of Homer's figure. The man's condition, which in earlier works might have been characterised by hope or helplessness, has turned to "sullen rage".Remarking on the contrast between the dying figures in the foreground and the figures in the mid-ground waving towards the approaching rescue ship, the French art historian Georges-Antoine Borias wrote that Géricault's painting represents, "on the one hand, desolation and death. On the other, hope and life."For Kenneth Clark, The Raft of the Medusa "remains the chief example of romantic pathos expressed through the nude; and that obsession with death, which drove Géricault to frequent mortuary chambers and places of public execution, gives truth to his figures of the dead and the dying. Their outlines may be taken from the classics, but they have been seen again with a craving for violent experience."

Prompt: メデューズ号の筏に焦点を当てて、その解釈と遺産を説明してください。英語で出力して下さい。

Albert Elsen
Anne-Louis Girodet de Roussy-Trioson
Antoine-Jean Gros
Auguste Rodin
Clark Art Institute
Eugène Delacroix
Francis Danby
François Gérard
French art
Anne-Louis Girodet de Roussy-Trioson
Gustave Courbet
Haiti
Honoré Daumier
J. M. W. Turner
Jacques-Louis David
Kenneth Clark


section

メデューズ号の筏

In its insistence on portraying an unpleasant truth, The Raft of the Medusa was a landmark in the emerging Romantic movement in French painting, and "laid the foundations of an aesthetic revolution" against the prevailing Neoclassical style.  Géricault's compositional structure and depiction of the figures are classical, but the contrasting turbulence of the subject represents a significant change in artistic direction and creates an important bridge between Neoclassical and Romantic styles. By 1815, Jacques-Louis David, then in exile in Brussels, was both the leading proponent of the popular history painting genre, which he had perfected, and a master of the Neoclassical style. In France, both history painting and the Neoclassical style continued through the work of Antoine-Jean Gros, Jean Auguste Dominique Ingres, François Gérard, Anne-Louis Girodet de Roussy-Trioson, Pierre-Narcisse Guérin—teacher of both Géricault and Delacroix—and other artists who remained committed to the artistic traditions of David and Nicolas Poussin.In his introduction to The Journal of Eugène Delacroix, Hubert Wellington wrote about Delacroix's opinion of the state of French painting just prior to the Salon of 1819. According to Wellington, "The curious blend of classic with realistic outlook which had been imposed by the discipline of David was now losing both animation and interest. The master himself was nearing his end, and exiled in Belgium. His most docile pupil, Girodet, a refined and cultivated classicist, was producing pictures of astonishing frigidity. Gérard, immensely successful painter of portraits under the Empire—some of them admirable—fell in with the new vogue for large pictures of history, but without enthusiasm." Géricault's raft pointedly lacks a hero, and his painting presents no cause beyond sheer survival. The work represents, in the words of Christine Riding, "the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilised man into barbarism". They argue that the artist's choice to do so was not a "last-minute" decision as evidenced by early sketches for the work, including a portrait study of the Haitian model Joseph, and point to Géricault's concerns regarding the "extreme cruelties" of illegal slave trade in the French colonies. Gericault’s choice to place the Black man as the active “hero” deviated from popular ideas about enslaved people. The subject of marine tragedy was undertaken by J. M. W. Turner , who, like many English artists, probably saw Géricault's painting when it was exhibited in London in 1820. His A Disaster at Sea  chronicled a similar incident, this time a British catastrophe, with a swamped vessel and dying figures also placed in the foreground. Placing a person of color in the centre of the drama was revisited by Turner, with similar abolitionist overtones, in his The Slave Ship .The art historian Albert Elsen believed that The Raft of the Medusa and Delacroix's  Massacre at Chios provided the inspiration for the grandiose sweep of Auguste Rodin's monumental sculpture The Gates of Hell. He wrote that "Delacroix's Massacre at Chios and Géricault's Raft of the Medusa confronted Rodin on a heroic scale with the innocent nameless victims of political tragedies ... If Rodin was inspired to rival Michelangelo's st Judgment, he had Géricault's Raft of the Medusa in front of him for encouragement."While Gustave Courbet  could be described as an anti-Romantic painter, his major works like A Burial at Ornans  and The Artist's Studio  owe a debt to The Raft of the Medusa. The influence is not only in Courbet's enormous scale, but in his willingness to portray ordinary people and current political events, and to record people, places and events in real, everyday surroundings. The 2004 exhibition at the Clark Art Institute,  Bonjour Monsieur Courbet: The Bruyas Collection from the Musee Fabre, Montpellier, sought to compare the 19th-century Realist painters Courbet, Honoré Daumier , and early Édouard Manet  with artists associated with Romanticism, including Géricault and Delacroix. Citing The Raft of the Medusa as an instrumental influence on Realism, the exhibition drew comparisons between all of the artists. The critic Michael Fried sees Manet directly borrowing the figure of the man cradling his son for the composition of Angels at the Tomb of Christ.The influence of The Raft of the Medusa was felt by artists beyond France. Francis Danby, a British painter born in Ireland, probably was inspired by Géricault's picture when he painted Sunset at Sea after a Storm in 1824, and wrote in 1829 that The Raft of the Medusa was "the finest and grandest historical picture I have ever seen".The Gulf Stream , by the American artist Winslow Homer , replicates the composition of The Raft of the Medusa with a damaged vessel, ominously surrounded by sharks and threatened by a waterspout. Like Géricault, Homer makes a black man the pivotal figure in the scene, though here he is the vessel's sole occupant. A ship in the distance mirrors the Argus from Géricault's painting. The move from the drama of Romanticism to the new Realism is exemplified by the stoic resignation of Homer's figure. The man's condition, which in earlier works might have been characterised by hope or helplessness, has turned to "sullen rage".Remarking on the contrast between the dying figures in the foreground and the figures in the mid-ground waving towards the approaching rescue ship, the French art historian Georges-Antoine Borias wrote that Géricault's painting represents, "on the one hand, desolation and death. On the other, hope and life."For Kenneth Clark, The Raft of the Medusa "remains the chief example of romantic pathos expressed through the nude; and that obsession with death, which drove Géricault to frequent mortuary chambers and places of public execution, gives truth to his figures of the dead and the dying. Their outlines may be taken from the classics, but they have been seen again with a craving for violent experience."

Prompt: メデューズ号の筏の解釈と遺産を説明してください。英語で出力して下さい。

Albert Elsen
Anne-Louis Girodet de Roussy-Trioson
Antoine-Jean Gros
Auguste Rodin
Clark Art Institute
Eugène Delacroix
Francis Danby
François Gérard
French art
Anne-Louis Girodet de Roussy-Trioson
Gustave Courbet
Haiti
Honoré Daumier
J. M. W. Turner
Jacques-Louis David
Kenneth Clark


section

メデューズ号の筏

In its insistence on portraying an unpleasant truth, The Raft of the Medusa was a landmark in the emerging Romantic movement in French painting, and "laid the foundations of an aesthetic revolution" against the prevailing Neoclassical style.  Géricault's compositional structure and depiction of the figures are classical, but the contrasting turbulence of the subject represents a significant change in artistic direction and creates an important bridge between Neoclassical and Romantic styles. By 1815, Jacques-Louis David, then in exile in Brussels, was both the leading proponent of the popular history painting genre, which he had perfected, and a master of the Neoclassical style. In France, both history painting and the Neoclassical style continued through the work of Antoine-Jean Gros, Jean Auguste Dominique Ingres, François Gérard, Anne-Louis Girodet de Roussy-Trioson, Pierre-Narcisse Guérin—teacher of both Géricault and Delacroix—and other artists who remained committed to the artistic traditions of David and Nicolas Poussin.In his introduction to The Journal of Eugène Delacroix, Hubert Wellington wrote about Delacroix's opinion of the state of French painting just prior to the Salon of 1819. According to Wellington, "The curious blend of classic with realistic outlook which had been imposed by the discipline of David was now losing both animation and interest. The master himself was nearing his end, and exiled in Belgium. His most docile pupil, Girodet, a refined and cultivated classicist, was producing pictures of astonishing frigidity. Gérard, immensely successful painter of portraits under the Empire—some of them admirable—fell in with the new vogue for large pictures of history, but without enthusiasm." Géricault's raft pointedly lacks a hero, and his painting presents no cause beyond sheer survival. The work represents, in the words of Christine Riding, "the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilised man into barbarism". They argue that the artist's choice to do so was not a "last-minute" decision as evidenced by early sketches for the work, including a portrait study of the Haitian model Joseph, and point to Géricault's concerns regarding the "extreme cruelties" of illegal slave trade in the French colonies. Gericault’s choice to place the Black man as the active “hero” deviated from popular ideas about enslaved people. The subject of marine tragedy was undertaken by J. M. W. Turner , who, like many English artists, probably saw Géricault's painting when it was exhibited in London in 1820. His A Disaster at Sea  chronicled a similar incident, this time a British catastrophe, with a swamped vessel and dying figures also placed in the foreground. Placing a person of color in the centre of the drama was revisited by Turner, with similar abolitionist overtones, in his The Slave Ship .The art historian Albert Elsen believed that The Raft of the Medusa and Delacroix's  Massacre at Chios provided the inspiration for the grandiose sweep of Auguste Rodin's monumental sculpture The Gates of Hell. He wrote that "Delacroix's Massacre at Chios and Géricault's Raft of the Medusa confronted Rodin on a heroic scale with the innocent nameless victims of political tragedies ... If Rodin was inspired to rival Michelangelo's st Judgment, he had Géricault's Raft of the Medusa in front of him for encouragement."While Gustave Courbet  could be described as an anti-Romantic painter, his major works like A Burial at Ornans  and The Artist's Studio  owe a debt to The Raft of the Medusa. The influence is not only in Courbet's enormous scale, but in his willingness to portray ordinary people and current political events, and to record people, places and events in real, everyday surroundings. The 2004 exhibition at the Clark Art Institute,  Bonjour Monsieur Courbet: The Bruyas Collection from the Musee Fabre, Montpellier, sought to compare the 19th-century Realist painters Courbet, Honoré Daumier , and early Édouard Manet  with artists associated with Romanticism, including Géricault and Delacroix. Citing The Raft of the Medusa as an instrumental influence on Realism, the exhibition drew comparisons between all of the artists. The critic Michael Fried sees Manet directly borrowing the figure of the man cradling his son for the composition of Angels at the Tomb of Christ.The influence of The Raft of the Medusa was felt by artists beyond France. Francis Danby, a British painter born in Ireland, probably was inspired by Géricault's picture when he painted Sunset at Sea after a Storm in 1824, and wrote in 1829 that The Raft of the Medusa was "the finest and grandest historical picture I have ever seen".The Gulf Stream , by the American artist Winslow Homer , replicates the composition of The Raft of the Medusa with a damaged vessel, ominously surrounded by sharks and threatened by a waterspout. Like Géricault, Homer makes a black man the pivotal figure in the scene, though here he is the vessel's sole occupant. A ship in the distance mirrors the Argus from Géricault's painting. The move from the drama of Romanticism to the new Realism is exemplified by the stoic resignation of Homer's figure. The man's condition, which in earlier works might have been characterised by hope or helplessness, has turned to "sullen rage".Remarking on the contrast between the dying figures in the foreground and the figures in the mid-ground waving towards the approaching rescue ship, the French art historian Georges-Antoine Borias wrote that Géricault's painting represents, "on the one hand, desolation and death. On the other, hope and life."For Kenneth Clark, The Raft of the Medusa "remains the chief example of romantic pathos expressed through the nude; and that obsession with death, which drove Géricault to frequent mortuary chambers and places of public execution, gives truth to his figures of the dead and the dying. Their outlines may be taken from the classics, but they have been seen again with a craving for violent experience."

Prompt: メデューズ号の筏はどのように解釈と遺産を説明していますか？英語で出力して下さい。

Albert Elsen
Anne-Louis Girodet de Roussy-Trioson
Antoine-Jean Gros
Auguste Rodin
Clark Art Institute
Eugène Delacroix
Francis Danby
François Gérard
French art
Anne-Louis Girodet de Roussy-Trioson
Gustave Courbet
Haiti
Honoré Daumier
J. M. W. Turner
Jacques-Louis David
Kenneth Clark


section

メデューズ号の筏

In its insistence on portraying an unpleasant truth, The Raft of the Medusa was a landmark in the emerging Romantic movement in French painting, and "laid the foundations of an aesthetic revolution" against the prevailing Neoclassical style.  Géricault's compositional structure and depiction of the figures are classical, but the contrasting turbulence of the subject represents a significant change in artistic direction and creates an important bridge between Neoclassical and Romantic styles. By 1815, Jacques-Louis David, then in exile in Brussels, was both the leading proponent of the popular history painting genre, which he had perfected, and a master of the Neoclassical style. In France, both history painting and the Neoclassical style continued through the work of Antoine-Jean Gros, Jean Auguste Dominique Ingres, François Gérard, Anne-Louis Girodet de Roussy-Trioson, Pierre-Narcisse Guérin—teacher of both Géricault and Delacroix—and other artists who remained committed to the artistic traditions of David and Nicolas Poussin.In his introduction to The Journal of Eugène Delacroix, Hubert Wellington wrote about Delacroix's opinion of the state of French painting just prior to the Salon of 1819. According to Wellington, "The curious blend of classic with realistic outlook which had been imposed by the discipline of David was now losing both animation and interest. The master himself was nearing his end, and exiled in Belgium. His most docile pupil, Girodet, a refined and cultivated classicist, was producing pictures of astonishing frigidity. Gérard, immensely successful painter of portraits under the Empire—some of them admirable—fell in with the new vogue for large pictures of history, but without enthusiasm." Géricault's raft pointedly lacks a hero, and his painting presents no cause beyond sheer survival. The work represents, in the words of Christine Riding, "the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilised man into barbarism". They argue that the artist's choice to do so was not a "last-minute" decision as evidenced by early sketches for the work, including a portrait study of the Haitian model Joseph, and point to Géricault's concerns regarding the "extreme cruelties" of illegal slave trade in the French colonies. Gericault’s choice to place the Black man as the active “hero” deviated from popular ideas about enslaved people. The subject of marine tragedy was undertaken by J. M. W. Turner , who, like many English artists, probably saw Géricault's painting when it was exhibited in London in 1820. His A Disaster at Sea  chronicled a similar incident, this time a British catastrophe, with a swamped vessel and dying figures also placed in the foreground. Placing a person of color in the centre of the drama was revisited by Turner, with similar abolitionist overtones, in his The Slave Ship .The art historian Albert Elsen believed that The Raft of the Medusa and Delacroix's  Massacre at Chios provided the inspiration for the grandiose sweep of Auguste Rodin's monumental sculpture The Gates of Hell. He wrote that "Delacroix's Massacre at Chios and Géricault's Raft of the Medusa confronted Rodin on a heroic scale with the innocent nameless victims of political tragedies ... If Rodin was inspired to rival Michelangelo's st Judgment, he had Géricault's Raft of the Medusa in front of him for encouragement."While Gustave Courbet  could be described as an anti-Romantic painter, his major works like A Burial at Ornans  and The Artist's Studio  owe a debt to The Raft of the Medusa. The influence is not only in Courbet's enormous scale, but in his willingness to portray ordinary people and current political events, and to record people, places and events in real, everyday surroundings. The 2004 exhibition at the Clark Art Institute,  Bonjour Monsieur Courbet: The Bruyas Collection from the Musee Fabre, Montpellier, sought to compare the 19th-century Realist painters Courbet, Honoré Daumier , and early Édouard Manet  with artists associated with Romanticism, including Géricault and Delacroix. Citing The Raft of the Medusa as an instrumental influence on Realism, the exhibition drew comparisons between all of the artists. The critic Michael Fried sees Manet directly borrowing the figure of the man cradling his son for the composition of Angels at the Tomb of Christ.The influence of The Raft of the Medusa was felt by artists beyond France. Francis Danby, a British painter born in Ireland, probably was inspired by Géricault's picture when he painted Sunset at Sea after a Storm in 1824, and wrote in 1829 that The Raft of the Medusa was "the finest and grandest historical picture I have ever seen".The Gulf Stream , by the American artist Winslow Homer , replicates the composition of The Raft of the Medusa with a damaged vessel, ominously surrounded by sharks and threatened by a waterspout. Like Géricault, Homer makes a black man the pivotal figure in the scene, though here he is the vessel's sole occupant. A ship in the distance mirrors the Argus from Géricault's painting. The move from the drama of Romanticism to the new Realism is exemplified by the stoic resignation of Homer's figure. The man's condition, which in earlier works might have been characterised by hope or helplessness, has turned to "sullen rage".Remarking on the contrast between the dying figures in the foreground and the figures in the mid-ground waving towards the approaching rescue ship, the French art historian Georges-Antoine Borias wrote that Géricault's painting represents, "on the one hand, desolation and death. On the other, hope and life."For Kenneth Clark, The Raft of the Medusa "remains the chief example of romantic pathos expressed through the nude; and that obsession with death, which drove Géricault to frequent mortuary chambers and places of public execution, gives truth to his figures of the dead and the dying. Their outlines may be taken from the classics, but they have been seen again with a craving for violent experience."

Prompt: メデューズ号の筏に関して、どのように解釈と遺産が議論されていますか？英語で出力して下さい。

Albert Elsen
Anne-Louis Girodet de Roussy-Trioson
Antoine-Jean Gros
Auguste Rodin
Clark Art Institute
Eugène Delacroix
Francis Danby
François Gérard
French art
Anne-Louis Girodet de Roussy-Trioson
Gustave Courbet
Haiti
Honoré Daumier
J. M. W. Turner
Jacques-Louis David
Kenneth Clark


section

メデューズ号の筏

Alhadeff, Albert. The Raft of the Medusa: Géricault, Art, and Race, Prestel, 2002, . Barnes, Julian.  A History of the World in 10½ Chapters.  London: Jonathan Cape, 1989.  .  Chapter 5, Shipwreck, is an analysis of the painting. Berger, Klaus & Gaericault, Thaeodore. Gericault: Drawings & Watercolors. New York: H. Bittner and Company, 1946. Boime, Albert. Art in an Age of Counterrevolution 1815–1848. Chicago: University of Chicago Press, 2004. . Borias, Georges-Antoine. Géricault: The Raft of the 'Medusa . The Roland Collection of Films on Art. Directed by Touboul, Adrien, 1968. Eitner, Lorenz. Géricault's 'Raft of the Medusa. New York: Phaidon, 1972. . Eitner, Lorenz. 19th Century European Painting: David to Cézanne. Westview Press, 2002. . Elsen, Albert. The Gates of Hell by Auguste Rodin. Stanford University Press, 1985. . Fried, Michael. Manet's Modernism: Or, the Face of Painting in the 1860s. Chicago: University of Chicago Press, 1998. . Grigsby, Darcy Grimaldo. Extremities: Painting Empire in Post-Revolutionary France, . Yale University Press, 2002. . Hagen, Rose-Marie & Hagen, Rainer. What Great Paintings Say. Vol. 1. Taschen, 2007 . 374–377. . McKee, Alexander. Wreck of the Medusa: The Tragic Story of the Death Raft. London: Souvenir Press, 1975. .  Miles, Jonathan.  The Wreck of the Medusa: The Most Famous Sea Disaster of the Nineteenth Century. Atlantic Monthly Press, 2007. . Muther, Richard. The History of Modern Painting Vol. 1. London: J.M. Dent, 1907. Néret, Gilles. Eugène Delacroix: The Prince of Romanticism. Taschen, 2000. . Nicholas, Lynn H. . The Rape of Europa: the Fate of Europe's Treasures in the Third Reich and the Second World War. New York: Alfred A. Knopf.  . . Noon, Patrick & Bann, Stephen. Crossing the Channel: British and French Painting in the Age of Romanticism. London: Tate Publishing, 2003. .  Novotny, Fritz. Painting and Sculpture in Europe, 1780 to 1880. Baltimore: Penguin Books, 1960. Riding, Christine. "The Raft of the Medusa in Britain". In: Noon, Patrick & Bann, Stephen. Crossing the Channel: British and French Painting in the Age of Romanticism. London: Tate Publishing, June 2003. . Riding, Christine. "The Fatal Raft: Christine Riding Looks at British Reaction to the French Tragedy at Sea Immortalised in Gericault's Masterpiece 'The Raft of the Medusa'. History Today, February 2003. Rowe Snow, Edward. Tales of Terror and Tragedy. New York: Dodd Mead, 1979. . Savigny, Jean Baptiste Henri; Corréard, Alexandre.  . Wintle, Justin. Makers of Nineteenth Century Culture. London: Routledge, 2001. .

Prompt: メデューズ号の筏に焦点を当てて、その一般および引用文献を説明してください。英語で出力して下さい。


section

メデューズ号の筏

Alhadeff, Albert. The Raft of the Medusa: Géricault, Art, and Race, Prestel, 2002, . Barnes, Julian.  A History of the World in 10½ Chapters.  London: Jonathan Cape, 1989.  .  Chapter 5, Shipwreck, is an analysis of the painting. Berger, Klaus & Gaericault, Thaeodore. Gericault: Drawings & Watercolors. New York: H. Bittner and Company, 1946. Boime, Albert. Art in an Age of Counterrevolution 1815–1848. Chicago: University of Chicago Press, 2004. . Borias, Georges-Antoine. Géricault: The Raft of the 'Medusa . The Roland Collection of Films on Art. Directed by Touboul, Adrien, 1968. Eitner, Lorenz. Géricault's 'Raft of the Medusa. New York: Phaidon, 1972. . Eitner, Lorenz. 19th Century European Painting: David to Cézanne. Westview Press, 2002. . Elsen, Albert. The Gates of Hell by Auguste Rodin. Stanford University Press, 1985. . Fried, Michael. Manet's Modernism: Or, the Face of Painting in the 1860s. Chicago: University of Chicago Press, 1998. . Grigsby, Darcy Grimaldo. Extremities: Painting Empire in Post-Revolutionary France, . Yale University Press, 2002. . Hagen, Rose-Marie & Hagen, Rainer. What Great Paintings Say. Vol. 1. Taschen, 2007 . 374–377. . McKee, Alexander. Wreck of the Medusa: The Tragic Story of the Death Raft. London: Souvenir Press, 1975. .  Miles, Jonathan.  The Wreck of the Medusa: The Most Famous Sea Disaster of the Nineteenth Century. Atlantic Monthly Press, 2007. . Muther, Richard. The History of Modern Painting Vol. 1. London: J.M. Dent, 1907. Néret, Gilles. Eugène Delacroix: The Prince of Romanticism. Taschen, 2000. . Nicholas, Lynn H. . The Rape of Europa: the Fate of Europe's Treasures in the Third Reich and the Second World War. New York: Alfred A. Knopf.  . . Noon, Patrick & Bann, Stephen. Crossing the Channel: British and French Painting in the Age of Romanticism. London: Tate Publishing, 2003. .  Novotny, Fritz. Painting and Sculpture in Europe, 1780 to 1880. Baltimore: Penguin Books, 1960. Riding, Christine. "The Raft of the Medusa in Britain". In: Noon, Patrick & Bann, Stephen. Crossing the Channel: British and French Painting in the Age of Romanticism. London: Tate Publishing, June 2003. . Riding, Christine. "The Fatal Raft: Christine Riding Looks at British Reaction to the French Tragedy at Sea Immortalised in Gericault's Masterpiece 'The Raft of the Medusa'. History Today, February 2003. Rowe Snow, Edward. Tales of Terror and Tragedy. New York: Dodd Mead, 1979. . Savigny, Jean Baptiste Henri; Corréard, Alexandre.  . Wintle, Justin. Makers of Nineteenth Century Culture. London: Routledge, 2001. .

Prompt: メデューズ号の筏の一般および引用文献を説明してください。英語で出力して下さい。


section

メデューズ号の筏

Alhadeff, Albert. The Raft of the Medusa: Géricault, Art, and Race, Prestel, 2002, . Barnes, Julian.  A History of the World in 10½ Chapters.  London: Jonathan Cape, 1989.  .  Chapter 5, Shipwreck, is an analysis of the painting. Berger, Klaus & Gaericault, Thaeodore. Gericault: Drawings & Watercolors. New York: H. Bittner and Company, 1946. Boime, Albert. Art in an Age of Counterrevolution 1815–1848. Chicago: University of Chicago Press, 2004. . Borias, Georges-Antoine. Géricault: The Raft of the 'Medusa . The Roland Collection of Films on Art. Directed by Touboul, Adrien, 1968. Eitner, Lorenz. Géricault's 'Raft of the Medusa. New York: Phaidon, 1972. . Eitner, Lorenz. 19th Century European Painting: David to Cézanne. Westview Press, 2002. . Elsen, Albert. The Gates of Hell by Auguste Rodin. Stanford University Press, 1985. . Fried, Michael. Manet's Modernism: Or, the Face of Painting in the 1860s. Chicago: University of Chicago Press, 1998. . Grigsby, Darcy Grimaldo. Extremities: Painting Empire in Post-Revolutionary France, . Yale University Press, 2002. . Hagen, Rose-Marie & Hagen, Rainer. What Great Paintings Say. Vol. 1. Taschen, 2007 . 374–377. . McKee, Alexander. Wreck of the Medusa: The Tragic Story of the Death Raft. London: Souvenir Press, 1975. .  Miles, Jonathan.  The Wreck of the Medusa: The Most Famous Sea Disaster of the Nineteenth Century. Atlantic Monthly Press, 2007. . Muther, Richard. The History of Modern Painting Vol. 1. London: J.M. Dent, 1907. Néret, Gilles. Eugène Delacroix: The Prince of Romanticism. Taschen, 2000. . Nicholas, Lynn H. . The Rape of Europa: the Fate of Europe's Treasures in the Third Reich and the Second World War. New York: Alfred A. Knopf.  . . Noon, Patrick & Bann, Stephen. Crossing the Channel: British and French Painting in the Age of Romanticism. London: Tate Publishing, 2003. .  Novotny, Fritz. Painting and Sculpture in Europe, 1780 to 1880. Baltimore: Penguin Books, 1960. Riding, Christine. "The Raft of the Medusa in Britain". In: Noon, Patrick & Bann, Stephen. Crossing the Channel: British and French Painting in the Age of Romanticism. London: Tate Publishing, June 2003. . Riding, Christine. "The Fatal Raft: Christine Riding Looks at British Reaction to the French Tragedy at Sea Immortalised in Gericault's Masterpiece 'The Raft of the Medusa'. History Today, February 2003. Rowe Snow, Edward. Tales of Terror and Tragedy. New York: Dodd Mead, 1979. . Savigny, Jean Baptiste Henri; Corréard, Alexandre.  . Wintle, Justin. Makers of Nineteenth Century Culture. London: Routledge, 2001. .

Prompt: メデューズ号の筏はどのように一般および引用文献を説明していますか？英語で出力して下さい。


section

メデューズ号の筏

Alhadeff, Albert. The Raft of the Medusa: Géricault, Art, and Race, Prestel, 2002, . Barnes, Julian.  A History of the World in 10½ Chapters.  London: Jonathan Cape, 1989.  .  Chapter 5, Shipwreck, is an analysis of the painting. Berger, Klaus & Gaericault, Thaeodore. Gericault: Drawings & Watercolors. New York: H. Bittner and Company, 1946. Boime, Albert. Art in an Age of Counterrevolution 1815–1848. Chicago: University of Chicago Press, 2004. . Borias, Georges-Antoine. Géricault: The Raft of the 'Medusa . The Roland Collection of Films on Art. Directed by Touboul, Adrien, 1968. Eitner, Lorenz. Géricault's 'Raft of the Medusa. New York: Phaidon, 1972. . Eitner, Lorenz. 19th Century European Painting: David to Cézanne. Westview Press, 2002. . Elsen, Albert. The Gates of Hell by Auguste Rodin. Stanford University Press, 1985. . Fried, Michael. Manet's Modernism: Or, the Face of Painting in the 1860s. Chicago: University of Chicago Press, 1998. . Grigsby, Darcy Grimaldo. Extremities: Painting Empire in Post-Revolutionary France, . Yale University Press, 2002. . Hagen, Rose-Marie & Hagen, Rainer. What Great Paintings Say. Vol. 1. Taschen, 2007 . 374–377. . McKee, Alexander. Wreck of the Medusa: The Tragic Story of the Death Raft. London: Souvenir Press, 1975. .  Miles, Jonathan.  The Wreck of the Medusa: The Most Famous Sea Disaster of the Nineteenth Century. Atlantic Monthly Press, 2007. . Muther, Richard. The History of Modern Painting Vol. 1. London: J.M. Dent, 1907. Néret, Gilles. Eugène Delacroix: The Prince of Romanticism. Taschen, 2000. . Nicholas, Lynn H. . The Rape of Europa: the Fate of Europe's Treasures in the Third Reich and the Second World War. New York: Alfred A. Knopf.  . . Noon, Patrick & Bann, Stephen. Crossing the Channel: British and French Painting in the Age of Romanticism. London: Tate Publishing, 2003. .  Novotny, Fritz. Painting and Sculpture in Europe, 1780 to 1880. Baltimore: Penguin Books, 1960. Riding, Christine. "The Raft of the Medusa in Britain". In: Noon, Patrick & Bann, Stephen. Crossing the Channel: British and French Painting in the Age of Romanticism. London: Tate Publishing, June 2003. . Riding, Christine. "The Fatal Raft: Christine Riding Looks at British Reaction to the French Tragedy at Sea Immortalised in Gericault's Masterpiece 'The Raft of the Medusa'. History Today, February 2003. Rowe Snow, Edward. Tales of Terror and Tragedy. New York: Dodd Mead, 1979. . Savigny, Jean Baptiste Henri; Corréard, Alexandre.  . Wintle, Justin. Makers of Nineteenth Century Culture. London: Routledge, 2001. .

Prompt: メデューズ号の筏に関して、どのように一般および引用文献が議論されていますか？英語で出力して下さい。


subsection

メデューズ号の筏

Géricault was captivated by accounts of the widely publicised 1816 shipwreck, and realised that a depiction of the event might be an opportunity to establish his reputation as a painter. Having decided to proceed, he undertook extensive research before he began the painting. In early 1818, he met with two survivors: Henri Savigny, a surgeon, and Alexandre Corréard, an engineer from the École nationale supérieure d'arts et métiers. Their emotional descriptions of their experiences largely inspired the tone of the final painting. According to the art historian Georges-Antoine Borias, "Géricault established his studio across from Beaujon hospital. And here began a mournful descent. Behind locked doors he threw himself into his work. Nothing repulsed him. He was dreaded and avoided."Earlier travels had exposed Géricault to victims of insanity and plague, and while researching the Méduse his effort to be historically accurate and realistic led to an obsession with the stiffness of corpses. and for a fortnight drew a severed head, borrowed from a lunatic asylum and stored on his studio roof.He drew and painted numerous preparatory sketches while deciding which of several alternative moments of the disaster he would depict in the final work. The painting's conception proved slow and difficult for Géricault, and he struggled to select a single pictorially effective moment to best capture the inherent drama of the event.Among the scenes he considered were the mutiny against the officers from the second day on the raft, the cannibalism that occurred after only a few days, and the rescue. Géricault ultimately settled on the moment, recounted by one of the survivors, when they first saw, on the horizon, the approaching rescue ship Argus—visible in the upper right of the painting—which they attempted to signal. The ship, however, passed by. In the words of one of the surviving crew members, "From the delirium of joy, we fell into profound despondency and grief."The author Rupert Christiansen points out that the painting depicts more figures than had been on the raft at the time of the rescue—including corpses which were not recorded by the rescuers. Instead of the sunny morning and calm water reported on the day of the rescue, Géricault depicted a gathering storm and dark, heaving sea to reinforce the emotional gloom.

Prompt: メデューズ号の筏の文脈で、研究準備研究と説明を説明してください。英語で出力して下さい。


subsection

メデューズ号の筏

Géricault was captivated by accounts of the widely publicised 1816 shipwreck, and realised that a depiction of the event might be an opportunity to establish his reputation as a painter. Having decided to proceed, he undertook extensive research before he began the painting. In early 1818, he met with two survivors: Henri Savigny, a surgeon, and Alexandre Corréard, an engineer from the École nationale supérieure d'arts et métiers. Their emotional descriptions of their experiences largely inspired the tone of the final painting. According to the art historian Georges-Antoine Borias, "Géricault established his studio across from Beaujon hospital. And here began a mournful descent. Behind locked doors he threw himself into his work. Nothing repulsed him. He was dreaded and avoided."Earlier travels had exposed Géricault to victims of insanity and plague, and while researching the Méduse his effort to be historically accurate and realistic led to an obsession with the stiffness of corpses. and for a fortnight drew a severed head, borrowed from a lunatic asylum and stored on his studio roof.He drew and painted numerous preparatory sketches while deciding which of several alternative moments of the disaster he would depict in the final work. The painting's conception proved slow and difficult for Géricault, and he struggled to select a single pictorially effective moment to best capture the inherent drama of the event.Among the scenes he considered were the mutiny against the officers from the second day on the raft, the cannibalism that occurred after only a few days, and the rescue. Géricault ultimately settled on the moment, recounted by one of the survivors, when they first saw, on the horizon, the approaching rescue ship Argus—visible in the upper right of the painting—which they attempted to signal. The ship, however, passed by. In the words of one of the surviving crew members, "From the delirium of joy, we fell into profound despondency and grief."The author Rupert Christiansen points out that the painting depicts more figures than had been on the raft at the time of the rescue—including corpses which were not recorded by the rescuers. Instead of the sunny morning and calm water reported on the day of the rescue, Géricault depicted a gathering storm and dark, heaving sea to reinforce the emotional gloom.

Prompt: メデューズ号の筏の説明に関する研究準備研究を説明してください。英語で出力して下さい。


subsection

メデューズ号の筏

Géricault was captivated by accounts of the widely publicised 1816 shipwreck, and realised that a depiction of the event might be an opportunity to establish his reputation as a painter. Having decided to proceed, he undertook extensive research before he began the painting. In early 1818, he met with two survivors: Henri Savigny, a surgeon, and Alexandre Corréard, an engineer from the École nationale supérieure d'arts et métiers. Their emotional descriptions of their experiences largely inspired the tone of the final painting. According to the art historian Georges-Antoine Borias, "Géricault established his studio across from Beaujon hospital. And here began a mournful descent. Behind locked doors he threw himself into his work. Nothing repulsed him. He was dreaded and avoided."Earlier travels had exposed Géricault to victims of insanity and plague, and while researching the Méduse his effort to be historically accurate and realistic led to an obsession with the stiffness of corpses. and for a fortnight drew a severed head, borrowed from a lunatic asylum and stored on his studio roof.He drew and painted numerous preparatory sketches while deciding which of several alternative moments of the disaster he would depict in the final work. The painting's conception proved slow and difficult for Géricault, and he struggled to select a single pictorially effective moment to best capture the inherent drama of the event.Among the scenes he considered were the mutiny against the officers from the second day on the raft, the cannibalism that occurred after only a few days, and the rescue. Géricault ultimately settled on the moment, recounted by one of the survivors, when they first saw, on the horizon, the approaching rescue ship Argus—visible in the upper right of the painting—which they attempted to signal. The ship, however, passed by. In the words of one of the surviving crew members, "From the delirium of joy, we fell into profound despondency and grief."The author Rupert Christiansen points out that the painting depicts more figures than had been on the raft at the time of the rescue—including corpses which were not recorded by the rescuers. Instead of the sunny morning and calm water reported on the day of the rescue, Géricault depicted a gathering storm and dark, heaving sea to reinforce the emotional gloom.

Prompt: メデューズ号の筏では、どのように説明の研究準備研究が説明されていますか？英語で出力して下さい。


subsection

メデューズ号の筏

Géricault was captivated by accounts of the widely publicised 1816 shipwreck, and realised that a depiction of the event might be an opportunity to establish his reputation as a painter. Having decided to proceed, he undertook extensive research before he began the painting. In early 1818, he met with two survivors: Henri Savigny, a surgeon, and Alexandre Corréard, an engineer from the École nationale supérieure d'arts et métiers. Their emotional descriptions of their experiences largely inspired the tone of the final painting. According to the art historian Georges-Antoine Borias, "Géricault established his studio across from Beaujon hospital. And here began a mournful descent. Behind locked doors he threw himself into his work. Nothing repulsed him. He was dreaded and avoided."Earlier travels had exposed Géricault to victims of insanity and plague, and while researching the Méduse his effort to be historically accurate and realistic led to an obsession with the stiffness of corpses. and for a fortnight drew a severed head, borrowed from a lunatic asylum and stored on his studio roof.He drew and painted numerous preparatory sketches while deciding which of several alternative moments of the disaster he would depict in the final work. The painting's conception proved slow and difficult for Géricault, and he struggled to select a single pictorially effective moment to best capture the inherent drama of the event.Among the scenes he considered were the mutiny against the officers from the second day on the raft, the cannibalism that occurred after only a few days, and the rescue. Géricault ultimately settled on the moment, recounted by one of the survivors, when they first saw, on the horizon, the approaching rescue ship Argus—visible in the upper right of the painting—which they attempted to signal. The ship, however, passed by. In the words of one of the surviving crew members, "From the delirium of joy, we fell into profound despondency and grief."The author Rupert Christiansen points out that the painting depicts more figures than had been on the raft at the time of the rescue—including corpses which were not recorded by the rescuers. Instead of the sunny morning and calm water reported on the day of the rescue, Géricault depicted a gathering storm and dark, heaving sea to reinforce the emotional gloom.

Prompt: メデューズ号の筏の説明における研究準備研究の特徴を説明してください。英語で出力して下さい。


subsection

メデューズ号の筏

Géricault, who had just been forced to break off a painful affair with his aunt, shaved his head and from November 1818 to July 1819 lived a disciplined monastic existence in his studio in the Faubourg du Roule, being brought meals by his concierge and only occasionally spending an evening out.Géricault, who was an abolitionist, Most notably, Joseph served as a model for what is considered to be a representation of Jean Charles, a military officer waving a dark red handkerchief in hopes of being noticed by the passing ship. Influenced by an ancient Greek Classical sculpture titled Belvedere Torso and with his back turned toward the viewer, Joseph's silhouette is placed atop the pyramidal grouping of survivors in the composition's right half. In addition, a small rendering of Joseph's face, with his gaze directed toward the spectator, is placed within a group of three figures positioned between the wooden mast and the supporting rope on the mast's right-hand side.Working with little distraction, the artist completed the painting in eight months; the project as a whole took 18 months.

Prompt: メデューズ号の筏の文脈で、最終作業と説明を説明してください。英語で出力して下さい。


subsection

メデューズ号の筏

Géricault, who had just been forced to break off a painful affair with his aunt, shaved his head and from November 1818 to July 1819 lived a disciplined monastic existence in his studio in the Faubourg du Roule, being brought meals by his concierge and only occasionally spending an evening out.Géricault, who was an abolitionist, Most notably, Joseph served as a model for what is considered to be a representation of Jean Charles, a military officer waving a dark red handkerchief in hopes of being noticed by the passing ship. Influenced by an ancient Greek Classical sculpture titled Belvedere Torso and with his back turned toward the viewer, Joseph's silhouette is placed atop the pyramidal grouping of survivors in the composition's right half. In addition, a small rendering of Joseph's face, with his gaze directed toward the spectator, is placed within a group of three figures positioned between the wooden mast and the supporting rope on the mast's right-hand side.Working with little distraction, the artist completed the painting in eight months; the project as a whole took 18 months.

Prompt: メデューズ号の筏の説明に関する最終作業を説明してください。英語で出力して下さい。


subsection

メデューズ号の筏

Géricault, who had just been forced to break off a painful affair with his aunt, shaved his head and from November 1818 to July 1819 lived a disciplined monastic existence in his studio in the Faubourg du Roule, being brought meals by his concierge and only occasionally spending an evening out.Géricault, who was an abolitionist, Most notably, Joseph served as a model for what is considered to be a representation of Jean Charles, a military officer waving a dark red handkerchief in hopes of being noticed by the passing ship. Influenced by an ancient Greek Classical sculpture titled Belvedere Torso and with his back turned toward the viewer, Joseph's silhouette is placed atop the pyramidal grouping of survivors in the composition's right half. In addition, a small rendering of Joseph's face, with his gaze directed toward the spectator, is placed within a group of three figures positioned between the wooden mast and the supporting rope on the mast's right-hand side.Working with little distraction, the artist completed the painting in eight months; the project as a whole took 18 months.

Prompt: メデューズ号の筏では、どのように説明の最終作業が説明されていますか？英語で出力して下さい。


subsection

メデューズ号の筏

Géricault, who had just been forced to break off a painful affair with his aunt, shaved his head and from November 1818 to July 1819 lived a disciplined monastic existence in his studio in the Faubourg du Roule, being brought meals by his concierge and only occasionally spending an evening out.Géricault, who was an abolitionist, Most notably, Joseph served as a model for what is considered to be a representation of Jean Charles, a military officer waving a dark red handkerchief in hopes of being noticed by the passing ship. Influenced by an ancient Greek Classical sculpture titled Belvedere Torso and with his back turned toward the viewer, Joseph's silhouette is placed atop the pyramidal grouping of survivors in the composition's right half. In addition, a small rendering of Joseph's face, with his gaze directed toward the spectator, is placed within a group of three figures positioned between the wooden mast and the supporting rope on the mast's right-hand side.Working with little distraction, the artist completed the painting in eight months; the project as a whole took 18 months.

Prompt: メデューズ号の筏の説明における最終作業の特徴を説明してください。英語で出力して下さい。


section

ニュンペーとサテュロス

material           = Oil on canvas height_metric      = 260 width_metric       = 180 museum             = Clark Art Institute city               = Williamstown}}Nymphs and Satyr  is an oil on canvas painting created by the French artist William-Adolphe Bouguereau in 1873. The painting depicts a satyr and a group of nymphs from Greek mythology.Nymphs and Satyr was exhibited in Paris at the 1873 Salon, which opened on 5 May, a year before the Impressionists mounted their first exhibition. It was displayed along with a verse from the ancient Roman poet, Publius Statius: "Conscious of his shaggy hide and from childhood untaught to swim, he dares not trust himself to deep waters."One critic called it "the greatest painting of our generation". Purchased for 35,000 francs by the American art collector and speculator John Wolfe on 26 June, 1873, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942. The piece is currently on display at the Clark Art Institute located in Williamstown, Massachusetts.According to the Clark Institute, in the painting, which is based on the Greek mythology, "a group of nymphs have been surprised, while bathing in a secluded pond, by a lascivious satyr. Some of the nymphs have retreated into the shadows on the right; others, braver than their friends, are trying to dampen the satyr's ardor by pulling him into the cold water – one of the satyr's hooves is already wet and he clearly wants to go no further. Bouguereau’s working methods were traditional; he made a number of sketches and drawings of carefully posed human figures in complicated interconnected poses, linking them together in this wonderfully rhythmical composition."The painting, the largest and one of the most beloved of the Clark collection, was cleaned prior to March 10, 2012, with the help of a grant from the Parnassus Foundation, courtesy of Jane and Raphael Bernstein.

Prompt: ニュンペーとサテュロスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Clark Art Institute
Greek mythology
New York City
Nymph
Nymph
Parnassus Foundation
Robert Sterling Clark
Satyr
Statius
William-Adolphe Bouguereau


section

ニュンペーとサテュロス

material           = Oil on canvas height_metric      = 260 width_metric       = 180 museum             = Clark Art Institute city               = Williamstown}}Nymphs and Satyr  is an oil on canvas painting created by the French artist William-Adolphe Bouguereau in 1873. The painting depicts a satyr and a group of nymphs from Greek mythology.Nymphs and Satyr was exhibited in Paris at the 1873 Salon, which opened on 5 May, a year before the Impressionists mounted their first exhibition. It was displayed along with a verse from the ancient Roman poet, Publius Statius: "Conscious of his shaggy hide and from childhood untaught to swim, he dares not trust himself to deep waters."One critic called it "the greatest painting of our generation". Purchased for 35,000 francs by the American art collector and speculator John Wolfe on 26 June, 1873, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942. The piece is currently on display at the Clark Art Institute located in Williamstown, Massachusetts.According to the Clark Institute, in the painting, which is based on the Greek mythology, "a group of nymphs have been surprised, while bathing in a secluded pond, by a lascivious satyr. Some of the nymphs have retreated into the shadows on the right; others, braver than their friends, are trying to dampen the satyr's ardor by pulling him into the cold water – one of the satyr's hooves is already wet and he clearly wants to go no further. Bouguereau’s working methods were traditional; he made a number of sketches and drawings of carefully posed human figures in complicated interconnected poses, linking them together in this wonderfully rhythmical composition."The painting, the largest and one of the most beloved of the Clark collection, was cleaned prior to March 10, 2012, with the help of a grant from the Parnassus Foundation, courtesy of Jane and Raphael Bernstein.

Prompt: ニュンペーとサテュロスの抽象を説明してください。英語で出力して下さい。

Clark Art Institute
Greek mythology
New York City
Nymph
Nymph
Parnassus Foundation
Robert Sterling Clark
Satyr
Statius
William-Adolphe Bouguereau


section

ニュンペーとサテュロス

material           = Oil on canvas height_metric      = 260 width_metric       = 180 museum             = Clark Art Institute city               = Williamstown}}Nymphs and Satyr  is an oil on canvas painting created by the French artist William-Adolphe Bouguereau in 1873. The painting depicts a satyr and a group of nymphs from Greek mythology.Nymphs and Satyr was exhibited in Paris at the 1873 Salon, which opened on 5 May, a year before the Impressionists mounted their first exhibition. It was displayed along with a verse from the ancient Roman poet, Publius Statius: "Conscious of his shaggy hide and from childhood untaught to swim, he dares not trust himself to deep waters."One critic called it "the greatest painting of our generation". Purchased for 35,000 francs by the American art collector and speculator John Wolfe on 26 June, 1873, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942. The piece is currently on display at the Clark Art Institute located in Williamstown, Massachusetts.According to the Clark Institute, in the painting, which is based on the Greek mythology, "a group of nymphs have been surprised, while bathing in a secluded pond, by a lascivious satyr. Some of the nymphs have retreated into the shadows on the right; others, braver than their friends, are trying to dampen the satyr's ardor by pulling him into the cold water – one of the satyr's hooves is already wet and he clearly wants to go no further. Bouguereau’s working methods were traditional; he made a number of sketches and drawings of carefully posed human figures in complicated interconnected poses, linking them together in this wonderfully rhythmical composition."The painting, the largest and one of the most beloved of the Clark collection, was cleaned prior to March 10, 2012, with the help of a grant from the Parnassus Foundation, courtesy of Jane and Raphael Bernstein.

Prompt: ニュンペーとサテュロスはどのように抽象を説明していますか？英語で出力して下さい。

Clark Art Institute
Greek mythology
New York City
Nymph
Nymph
Parnassus Foundation
Robert Sterling Clark
Satyr
Statius
William-Adolphe Bouguereau


section

ニュンペーとサテュロス

material           = Oil on canvas height_metric      = 260 width_metric       = 180 museum             = Clark Art Institute city               = Williamstown}}Nymphs and Satyr  is an oil on canvas painting created by the French artist William-Adolphe Bouguereau in 1873. The painting depicts a satyr and a group of nymphs from Greek mythology.Nymphs and Satyr was exhibited in Paris at the 1873 Salon, which opened on 5 May, a year before the Impressionists mounted their first exhibition. It was displayed along with a verse from the ancient Roman poet, Publius Statius: "Conscious of his shaggy hide and from childhood untaught to swim, he dares not trust himself to deep waters."One critic called it "the greatest painting of our generation". Purchased for 35,000 francs by the American art collector and speculator John Wolfe on 26 June, 1873, it was displayed in his mansion for many years alongside other high-style French academic paintings. It was sold at auction in 1888, after which the painting was displayed in the bar of the Hoffman House Hotel, New York City until 1901, when it was bought and stored in a warehouse, the buyer hoping to keep its 'offensive' content from the public. Robert Sterling Clark discovered the piece in storage and acquired it in 1942. The piece is currently on display at the Clark Art Institute located in Williamstown, Massachusetts.According to the Clark Institute, in the painting, which is based on the Greek mythology, "a group of nymphs have been surprised, while bathing in a secluded pond, by a lascivious satyr. Some of the nymphs have retreated into the shadows on the right; others, braver than their friends, are trying to dampen the satyr's ardor by pulling him into the cold water – one of the satyr's hooves is already wet and he clearly wants to go no further. Bouguereau’s working methods were traditional; he made a number of sketches and drawings of carefully posed human figures in complicated interconnected poses, linking them together in this wonderfully rhythmical composition."The painting, the largest and one of the most beloved of the Clark collection, was cleaned prior to March 10, 2012, with the help of a grant from the Parnassus Foundation, courtesy of Jane and Raphael Bernstein.

Prompt: ニュンペーとサテュロスに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Clark Art Institute
Greek mythology
New York City
Nymph
Nymph
Parnassus Foundation
Robert Sterling Clark
Satyr
Statius
William-Adolphe Bouguereau


section

ニュンペーとサテュロス

Prompt: ニュンペーとサテュロスに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ニュンペーとサテュロス

Prompt: ニュンペーとサテュロスの参照を説明してください。英語で出力して下さい。


section

ニュンペーとサテュロス

Prompt: ニュンペーとサテュロスはどのように参照を説明していますか？英語で出力して下さい。


section

ニュンペーとサテュロス

Prompt: ニュンペーとサテュロスに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

プラハの天文時計

--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.

Prompt: プラハの天文時計に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

プラハの天文時計

--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.

Prompt: プラハの天文時計の抽象を説明してください。英語で出力して下さい。


section

プラハの天文時計

--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.

Prompt: プラハの天文時計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

プラハの天文時計

--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.

Prompt: プラハの天文時計に関して、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

プラハの天文時計

The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components – the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; "The Walk of the Apostles", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.

Prompt: プラハの天文時計に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

プラハの天文時計

The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components – the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; "The Walk of the Apostles", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.

Prompt: プラハの天文時計の説明を説明してください。英語で出力して下さい。


section

プラハの天文時計

The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components – the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; "The Walk of the Apostles", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.

Prompt: プラハの天文時計はどのように説明を説明していますか？英語で出力して下さい。


section

プラハの天文時計

The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components – the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; "The Walk of the Apostles", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.

Prompt: プラハの天文時計に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

プラハの天文時計

The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.

Prompt: プラハの天文時計に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Alois Jirásek
Charles University
Jan Šindel
Josef Mánes
Mikuláš of Kadaň
Old Town Square
Prague
Prague uprising
Vojtěch Sucharda


section

プラハの天文時計

The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.

Prompt: プラハの天文時計の歴史を説明してください。英語で出力して下さい。

Alois Jirásek
Charles University
Jan Šindel
Josef Mánes
Mikuláš of Kadaň
Old Town Square
Prague
Prague uprising
Vojtěch Sucharda


section

プラハの天文時計

The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.

Prompt: プラハの天文時計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。

Alois Jirásek
Charles University
Jan Šindel
Josef Mánes
Mikuláš of Kadaň
Old Town Square
Prague
Prague uprising
Vojtěch Sucharda


section

プラハの天文時計

The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.

Prompt: プラハの天文時計に関して、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。

Alois Jirásek
Charles University
Jan Šindel
Josef Mánes
Mikuláš of Kadaň
Old Town Square
Prague
Prague uprising
Vojtěch Sucharda


section

プラハの天文時計

The astronomical dial is a form of mechanical astrolabe, a device used in medieval astronomy. Alternatively, one may consider the Orloj to be a primitive planetarium, displaying the current orientation of the universe relative to the Earth.The astronomical dial has a background that represents the standing Earth and sky, and surrounding it operate four main moving components: the zodiacal ring, an outer rotating ring, an icon representing the Sun, and an icon representing the Moon.

Prompt: プラハの天文時計に焦点を当てて、その天文時計を説明してください。英語で出力して下さい。


section

プラハの天文時計

The astronomical dial is a form of mechanical astrolabe, a device used in medieval astronomy. Alternatively, one may consider the Orloj to be a primitive planetarium, displaying the current orientation of the universe relative to the Earth.The astronomical dial has a background that represents the standing Earth and sky, and surrounding it operate four main moving components: the zodiacal ring, an outer rotating ring, an icon representing the Sun, and an icon representing the Moon.

Prompt: プラハの天文時計の天文時計を説明してください。英語で出力して下さい。