section

アルバの聖母

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the  in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married , who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke , then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles .  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.upright=0.9During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Prompt: アルバの聖母に焦点を当てて、その起源を説明してください。英語で出力して下さい。


section

アルバの聖母

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the  in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married , who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke , then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles .  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.upright=0.9During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Prompt: アルバの聖母の起源を説明してください。英語で出力して下さい。


section

アルバの聖母

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the  in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married , who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke , then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles .  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.upright=0.9During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Prompt: アルバの聖母はどのように起源を説明していますか？英語で出力して下さい。


section

アルバの聖母

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the  in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married , who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke , then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles .  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.upright=0.9During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Prompt: アルバの聖母に関して、どのように起源が議論されていますか？英語で出力して下さい。


section

アルバの聖母

List of paintings by Raphael Soviet sale of Hermitage paintings List of original Hermitage paintings in the National Gallery of Art

Prompt: アルバの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of paintings by Raphael
National Gallery of Art
Raphael
Soviet sale of Hermitage paintings


section

アルバの聖母

List of paintings by Raphael Soviet sale of Hermitage paintings List of original Hermitage paintings in the National Gallery of Art

Prompt: アルバの聖母の参照を説明してください。英語で出力して下さい。

List of paintings by Raphael
National Gallery of Art
Raphael
Soviet sale of Hermitage paintings


section

アルバの聖母

List of paintings by Raphael Soviet sale of Hermitage paintings List of original Hermitage paintings in the National Gallery of Art

Prompt: アルバの聖母はどのように参照を説明していますか？英語で出力して下さい。

List of paintings by Raphael
National Gallery of Art
Raphael
Soviet sale of Hermitage paintings


section

アルバの聖母

List of paintings by Raphael Soviet sale of Hermitage paintings List of original Hermitage paintings in the National Gallery of Art

Prompt: アルバの聖母に関して、どのように参照が議論されていますか？英語で出力して下さい。

List of paintings by Raphael
National Gallery of Art
Raphael
Soviet sale of Hermitage paintings


section

ソリーの聖母

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly .

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

Berlin
Conestabile Madonna
Edward Solly
Gemäldegalerie, Berlin
Norton Simon Museum
Raphael
Renaissance


section

ソリーの聖母

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly .

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

Berlin
Conestabile Madonna
Edward Solly
Gemäldegalerie, Berlin
Norton Simon Museum
Raphael
Renaissance


section

ソリーの聖母

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly .

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

Berlin
Conestabile Madonna
Edward Solly
Gemäldegalerie, Berlin
Norton Simon Museum
Raphael
Renaissance


section

ソリーの聖母

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly .

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

Berlin
Conestabile Madonna
Edward Solly
Gemäldegalerie, Berlin
Norton Simon Museum
Raphael
Renaissance


section

ソリーの聖母

Prompt: ソリーの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ソリーの聖母

Prompt: ソリーの聖母の参照を説明してください。英語で出力して下さい。


section

ソリーの聖母

Prompt: ソリーの聖母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

ソリーの聖母

Prompt: ソリーの聖母に関して、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

ソリーの聖母

Category:1500s paintingsCategory:Paintings of the Madonna and Child by RaphaelCategory:Paintings in the Gemäldegalerie, BerlinCategory:Birds in artCategory:Books in artCategory:Nude art

Prompt: ソリーの聖母に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


section

ソリーの聖母

Category:1500s paintingsCategory:Paintings of the Madonna and Child by RaphaelCategory:Paintings in the Gemäldegalerie, BerlinCategory:Birds in artCategory:Books in artCategory:Nude art

Prompt: ソリーの聖母の外部リンクを説明してください。英語で出力して下さい。


section

ソリーの聖母

Category:1500s paintingsCategory:Paintings of the Madonna and Child by RaphaelCategory:Paintings in the Gemäldegalerie, BerlinCategory:Birds in artCategory:Books in artCategory:Nude art

Prompt: ソリーの聖母はどのように外部リンクを説明していますか？英語で出力して下さい。


section

ソリーの聖母

Category:1500s paintingsCategory:Paintings of the Madonna and Child by RaphaelCategory:Paintings in the Gemäldegalerie, BerlinCategory:Birds in artCategory:Books in artCategory:Nude art

Prompt: ソリーの聖母に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


section

コネスタビレの聖母

The Conestabile Madonna is a small  painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate  instead of the book.

Prompt: コネスタビレの聖母に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Alexander II of Russia
Florence
Hermitage Museum
Perugia
Raphael
Renaissance
Umbria


section

コネスタビレの聖母

The Conestabile Madonna is a small  painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate  instead of the book.

Prompt: コネスタビレの聖母の抽象を説明してください。英語で出力して下さい。

Alexander II of Russia
Florence
Hermitage Museum
Perugia
Raphael
Renaissance
Umbria


section

コネスタビレの聖母

The Conestabile Madonna is a small  painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate  instead of the book.

Prompt: コネスタビレの聖母はどのように抽象を説明していますか？英語で出力して下さい。

Alexander II of Russia
Florence
Hermitage Museum
Perugia
Raphael
Renaissance
Umbria


section

コネスタビレの聖母

The Conestabile Madonna is a small  painting by the Italian Renaissance artist Raphael for the Conte della Staffa, executed c. 1502–1504. It was likely the last work painted by Raphael in Umbria before moving to Florence.Its name comes from the Conestabile della Staffa family of Perugia, from whom it was acquired by Alexander II of Russia on the 22. of April 1872. The Tsar presented it to his consort, Maria Alexandrovna. Since then, the painting has been on exhibit in the Hermitage Museum of St. Petersburg.The painting portrays the Madonna holding the Child while reading a book. In 1881, when the picture was moved to canvas, it was discovered that in the original version the Madonna contemplated a pomegranate  instead of the book.

Prompt: コネスタビレの聖母に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Alexander II of Russia
Florence
Hermitage Museum
Perugia
Raphael
Renaissance
Umbria


section

コネスタビレの聖母

Prompt: コネスタビレの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

コネスタビレの聖母

Prompt: コネスタビレの聖母の参照を説明してください。英語で出力して下さい。


section

コネスタビレの聖母

Prompt: コネスタビレの聖母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

コネスタビレの聖母

Prompt: コネスタビレの聖母に関して、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

コネスタビレの聖母

Category:Paintings of the Madonna and Child by RaphaelCategory:Paintings of the Madonna and ChildCategory:Paintings in the Hermitage MuseumCategory:1500s paintingsCategory:Nude artCategory:Unfinished paintings

Prompt: コネスタビレの聖母に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


section

コネスタビレの聖母

Category:Paintings of the Madonna and Child by RaphaelCategory:Paintings of the Madonna and ChildCategory:Paintings in the Hermitage MuseumCategory:1500s paintingsCategory:Nude artCategory:Unfinished paintings

Prompt: コネスタビレの聖母の外部リンクを説明してください。英語で出力して下さい。


section

コネスタビレの聖母

Category:Paintings of the Madonna and Child by RaphaelCategory:Paintings of the Madonna and ChildCategory:Paintings in the Hermitage MuseumCategory:1500s paintingsCategory:Nude artCategory:Unfinished paintings

Prompt: コネスタビレの聖母はどのように外部リンクを説明していますか？英語で出力して下さい。


section

コネスタビレの聖母

Category:Paintings of the Madonna and Child by RaphaelCategory:Paintings of the Madonna and ChildCategory:Paintings in the Hermitage MuseumCategory:1500s paintingsCategory:Nude artCategory:Unfinished paintings

Prompt: コネスタビレの聖母に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


section

小椅子の聖母

The Madonna della Seggiola or The Madonna della Sedia ) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

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

Florence
Italy
John the Baptist
Palazzo Pitti
Raphael
Renaissance


section

小椅子の聖母

The Madonna della Seggiola or The Madonna della Sedia ) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

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

Florence
Italy
John the Baptist
Palazzo Pitti
Raphael
Renaissance


section

小椅子の聖母

The Madonna della Seggiola or The Madonna della Sedia ) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

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

Florence
Italy
John the Baptist
Palazzo Pitti
Raphael
Renaissance


section

小椅子の聖母

The Madonna della Seggiola or The Madonna della Sedia ) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.

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

Florence
Italy
John the Baptist
Palazzo Pitti
Raphael
Renaissance


section

小椅子の聖母

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads . Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

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


section

小椅子の聖母

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads . Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

Prompt: 小椅子の聖母の説明を説明してください。英語で出力して下さい。


section

小椅子の聖母

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads . Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

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


section

小椅子の聖母

The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads . Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.

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


section

小椅子の聖母

Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X , who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II  who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.

Prompt: 小椅子の聖母に焦点を当てて、その起源を説明してください。英語で出力して下さい。

Pope Julius II
Pope Leo X
Raphael
Renaissance
Rome


section

小椅子の聖母

Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X , who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II  who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.

Prompt: 小椅子の聖母の起源を説明してください。英語で出力して下さい。

Pope Julius II
Pope Leo X
Raphael
Renaissance
Rome


section

小椅子の聖母

Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X , who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II  who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.

Prompt: 小椅子の聖母はどのように起源を説明していますか？英語で出力して下さい。

Pope Julius II
Pope Leo X
Raphael
Renaissance
Rome


section

小椅子の聖母

Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X , who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II  who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.

Prompt: 小椅子の聖母に関して、どのように起源が議論されていますか？英語で出力して下さい。

Pope Julius II
Pope Leo X
Raphael
Renaissance
Rome


section

小椅子の聖母

The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione . The painting is oil on panel, with St John the Baptist painted in a different key range. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna .The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.

Prompt: 小椅子の聖母に焦点を当てて、その技術を説明してください。英語で出力して下さい。

Alba Madonna
John the Baptist
Portrait of Baldassare Castiglione
Raphael
Renaissance


section

小椅子の聖母

The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione . The painting is oil on panel, with St John the Baptist painted in a different key range. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna .The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.

Prompt: 小椅子の聖母の技術を説明してください。英語で出力して下さい。

Alba Madonna
John the Baptist
Portrait of Baldassare Castiglione
Raphael
Renaissance


section

小椅子の聖母

The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione . The painting is oil on panel, with St John the Baptist painted in a different key range. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna .The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.

Prompt: 小椅子の聖母はどのように技術を説明していますか？英語で出力して下さい。

Alba Madonna
John the Baptist
Portrait of Baldassare Castiglione
Raphael
Renaissance


section

小椅子の聖母

The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione . The painting is oil on panel, with St John the Baptist painted in a different key range. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna .The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.

Prompt: 小椅子の聖母に関して、どのように技術が議論されていますか？英語で出力して下さい。

Alba Madonna
John the Baptist
Portrait of Baldassare Castiglione
Raphael
Renaissance


section

小椅子の聖母

The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas.Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and  Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.

Prompt: 小椅子の聖母に焦点を当てて、その他のアーティストへの影響を説明してください。英語で出力して下さい。

Johann Michael Wittmer
Nathaniel Hawthorne
Raphael
Royal Collection


section

小椅子の聖母

The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas.Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and  Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.

Prompt: 小椅子の聖母の他のアーティストへの影響を説明してください。英語で出力して下さい。

Johann Michael Wittmer
Nathaniel Hawthorne
Raphael
Royal Collection


section

小椅子の聖母

The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas.Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and  Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.

Prompt: 小椅子の聖母はどのように他のアーティストへの影響を説明していますか？英語で出力して下さい。

Johann Michael Wittmer
Nathaniel Hawthorne
Raphael
Royal Collection


section

小椅子の聖母

The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas.Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and  Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.

Prompt: 小椅子の聖母に関して、どのように他のアーティストへの影響が議論されていますか？英語で出力して下さい。

Johann Michael Wittmer
Nathaniel Hawthorne
Raphael
Royal Collection


section

小椅子の聖母

Prompt: 小椅子の聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

小椅子の聖母

Prompt: 小椅子の聖母の参照を説明してください。英語で出力して下さい。


section

小椅子の聖母

Prompt: 小椅子の聖母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

小椅子の聖母

Prompt: 小椅子の聖母に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

モンドの磔刑

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece.  It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

Prompt: モンドの磔刑に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Altarpiece
Baronci Altarpiece
Eusebius of Cremona
Lisbon
London
Ludwig Mond
National Gallery
North Carolina Museum of Art
Raphael
Renaissance
Jerome


section

モンドの磔刑

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece.  It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

Prompt: モンドの磔刑の抽象を説明してください。英語で出力して下さい。

Altarpiece
Baronci Altarpiece
Eusebius of Cremona
Lisbon
London
Ludwig Mond
National Gallery
North Carolina Museum of Art
Raphael
Renaissance
Jerome


section

モンドの磔刑

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece.  It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

Prompt: モンドの磔刑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。

Altarpiece
Baronci Altarpiece
Eusebius of Cremona
Lisbon
London
Ludwig Mond
National Gallery
North Carolina Museum of Art
Raphael
Renaissance
Jerome


section

モンドの磔刑

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece.  It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

Prompt: モンドの磔刑に関して、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。

Altarpiece
Baronci Altarpiece
Eusebius of Cremona
Lisbon
London
Ludwig Mond
National Gallery
North Carolina Museum of Art
Raphael
Renaissance
Jerome


section

モンドの磔刑

This early work by Raphael was commissioned by the wool merchant Domenico Gavari as the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, near Raphael's home town of Urbino.  The side chapel was dedicated to Saint Jerome, where most of the painting's original pietra serena stone frame survives including the inscribed date 1503.  Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece.  Gavari's first son Girolamo  died young.

Prompt: モンドの磔刑に焦点を当てて、その背景を説明してください。英語で出力して下さい。

Altarpiece
Baronci Altarpiece
Città di Castello
Raphael
Jerome
Umbria
Urbino


section

モンドの磔刑

This early work by Raphael was commissioned by the wool merchant Domenico Gavari as the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, near Raphael's home town of Urbino.  The side chapel was dedicated to Saint Jerome, where most of the painting's original pietra serena stone frame survives including the inscribed date 1503.  Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece.  Gavari's first son Girolamo  died young.

Prompt: モンドの磔刑の背景を説明してください。英語で出力して下さい。

Altarpiece
Baronci Altarpiece
Città di Castello
Raphael
Jerome
Umbria
Urbino


section

モンドの磔刑

This early work by Raphael was commissioned by the wool merchant Domenico Gavari as the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, near Raphael's home town of Urbino.  The side chapel was dedicated to Saint Jerome, where most of the painting's original pietra serena stone frame survives including the inscribed date 1503.  Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece.  Gavari's first son Girolamo  died young.

Prompt: モンドの磔刑はどのように背景を説明していますか？英語で出力して下さい。

Altarpiece
Baronci Altarpiece
Città di Castello
Raphael
Jerome
Umbria
Urbino


section

モンドの磔刑

This early work by Raphael was commissioned by the wool merchant Domenico Gavari as the altarpiece for his burial chapel in the south aisle of the church of San Domenico in Città di Castello, in Umbria, near Raphael's home town of Urbino.  The side chapel was dedicated to Saint Jerome, where most of the painting's original pietra serena stone frame survives including the inscribed date 1503.  Gavari was an associate of Andrea Baronci, for whom Raphael had already made the Baronci Altarpiece.  Gavari's first son Girolamo  died young.

Prompt: モンドの磔刑に関して、どのように背景が議論されていますか？英語で出力して下さい。

Altarpiece
Baronci Altarpiece
Città di Castello
Raphael
Jerome
Umbria
Urbino


section

モンドの磔刑

The main panel portrays the Crucifixion of Jesus, against a background of hills in the Umbrian countryside, with a view of Città di Castello in the distance.  Jesus looks peaceful even as he is dying on the cross, crowned with thorns and clad only in a loincloth that has an unusual red colour.  Above, a sun in gold leaf and moon in silver leaf appear together in the sky.  Two angels with flowing robes and scrolling ribbons at their waists, one floating to either side of the cross, are using gold chalices similar to communion vessels to catch the blood dripping from Jesus' nail-pierced hands and spurting from the wound in his side. To the proper right  kneels Mary Magdalene, with John the Evangelist standing behind her.  To the proper left  his mother Mary stands behind the kneeling Saint Jerome, who is holding a stone with which the hermit would piously beat his own chest.  The two kneeling figures are both reverently contemplating Jesus on the cross, while the two standing figures are wringing their hands while looking out at the viewer.  A panel at the top of the cross bears the inscription "INRI", while the foot of the cross bears a tin inscription in silver letters: "" .  The work is lit from the left, consistent with the illumination of the altarpiece by the windows in the chapel. The main panel measures  and is now housed in a 19th-century frame. The geometrical precision of the composition suggest it was laid out using a grid, using a rule and compasses to copy from a preparatory drawings.A drawing of a kneeling person, perhaps a study for the figure of Mary Magdalene, is held by the Ashmolean Museum in Oxford.The painting was influenced by Perugino, whom Raphael knew while living in Perugia.  It is similar to Perugino's c.1502 Monteripido Altarpiece, made the convent of San Francesco al Monte at Monteripido near Perugia, a similar crucifixion scene which has two similar angels with ribbons catching the blood of Jesus is chalices, accompanied by four figures, two standing and two kneeling, including the Virgin Mary, John the Evangelist, and Mary Magdalene, but the fourth is Francis of Assisi rather than Saint Jerome.  In the Mond Crucifixion, Raphael has used Perugino's technique of cross-hatched shadows, but also used his fingers to smear and soften the wet paint in places, leaving some detectable fingerprints.  Vasari later famously commented that no one would have believed it was painted by Raphael rather than Perugino if he had not signed it.

Prompt: モンドの磔刑に焦点を当てて、そのメインパネルを説明してください。英語で出力して下さい。

Altarpiece
Ashmolean Museum
Città di Castello
Crucifixion of Jesus
Francis of Assisi
Jesus
John the Evangelist
Mary Magdalene
Monteripido Altarpiece
Perugia
Raphael
Jerome
San Francesco al Monte
Umbria


section

モンドの磔刑

The main panel portrays the Crucifixion of Jesus, against a background of hills in the Umbrian countryside, with a view of Città di Castello in the distance.  Jesus looks peaceful even as he is dying on the cross, crowned with thorns and clad only in a loincloth that has an unusual red colour.  Above, a sun in gold leaf and moon in silver leaf appear together in the sky.  Two angels with flowing robes and scrolling ribbons at their waists, one floating to either side of the cross, are using gold chalices similar to communion vessels to catch the blood dripping from Jesus' nail-pierced hands and spurting from the wound in his side. To the proper right  kneels Mary Magdalene, with John the Evangelist standing behind her.  To the proper left  his mother Mary stands behind the kneeling Saint Jerome, who is holding a stone with which the hermit would piously beat his own chest.  The two kneeling figures are both reverently contemplating Jesus on the cross, while the two standing figures are wringing their hands while looking out at the viewer.  A panel at the top of the cross bears the inscription "INRI", while the foot of the cross bears a tin inscription in silver letters: "" .  The work is lit from the left, consistent with the illumination of the altarpiece by the windows in the chapel. The main panel measures  and is now housed in a 19th-century frame. The geometrical precision of the composition suggest it was laid out using a grid, using a rule and compasses to copy from a preparatory drawings.A drawing of a kneeling person, perhaps a study for the figure of Mary Magdalene, is held by the Ashmolean Museum in Oxford.The painting was influenced by Perugino, whom Raphael knew while living in Perugia.  It is similar to Perugino's c.1502 Monteripido Altarpiece, made the convent of San Francesco al Monte at Monteripido near Perugia, a similar crucifixion scene which has two similar angels with ribbons catching the blood of Jesus is chalices, accompanied by four figures, two standing and two kneeling, including the Virgin Mary, John the Evangelist, and Mary Magdalene, but the fourth is Francis of Assisi rather than Saint Jerome.  In the Mond Crucifixion, Raphael has used Perugino's technique of cross-hatched shadows, but also used his fingers to smear and soften the wet paint in places, leaving some detectable fingerprints.  Vasari later famously commented that no one would have believed it was painted by Raphael rather than Perugino if he had not signed it.

Prompt: モンドの磔刑のメインパネルを説明してください。英語で出力して下さい。

Altarpiece
Ashmolean Museum
Città di Castello
Crucifixion of Jesus
Francis of Assisi
Jesus
John the Evangelist
Mary Magdalene
Monteripido Altarpiece
Perugia
Raphael
Jerome
San Francesco al Monte
Umbria


section

モンドの磔刑

The main panel portrays the Crucifixion of Jesus, against a background of hills in the Umbrian countryside, with a view of Città di Castello in the distance.  Jesus looks peaceful even as he is dying on the cross, crowned with thorns and clad only in a loincloth that has an unusual red colour.  Above, a sun in gold leaf and moon in silver leaf appear together in the sky.  Two angels with flowing robes and scrolling ribbons at their waists, one floating to either side of the cross, are using gold chalices similar to communion vessels to catch the blood dripping from Jesus' nail-pierced hands and spurting from the wound in his side. To the proper right  kneels Mary Magdalene, with John the Evangelist standing behind her.  To the proper left  his mother Mary stands behind the kneeling Saint Jerome, who is holding a stone with which the hermit would piously beat his own chest.  The two kneeling figures are both reverently contemplating Jesus on the cross, while the two standing figures are wringing their hands while looking out at the viewer.  A panel at the top of the cross bears the inscription "INRI", while the foot of the cross bears a tin inscription in silver letters: "" .  The work is lit from the left, consistent with the illumination of the altarpiece by the windows in the chapel. The main panel measures  and is now housed in a 19th-century frame. The geometrical precision of the composition suggest it was laid out using a grid, using a rule and compasses to copy from a preparatory drawings.A drawing of a kneeling person, perhaps a study for the figure of Mary Magdalene, is held by the Ashmolean Museum in Oxford.The painting was influenced by Perugino, whom Raphael knew while living in Perugia.  It is similar to Perugino's c.1502 Monteripido Altarpiece, made the convent of San Francesco al Monte at Monteripido near Perugia, a similar crucifixion scene which has two similar angels with ribbons catching the blood of Jesus is chalices, accompanied by four figures, two standing and two kneeling, including the Virgin Mary, John the Evangelist, and Mary Magdalene, but the fourth is Francis of Assisi rather than Saint Jerome.  In the Mond Crucifixion, Raphael has used Perugino's technique of cross-hatched shadows, but also used his fingers to smear and soften the wet paint in places, leaving some detectable fingerprints.  Vasari later famously commented that no one would have believed it was painted by Raphael rather than Perugino if he had not signed it.

Prompt: モンドの磔刑はどのようにメインパネルを説明していますか？英語で出力して下さい。

Altarpiece
Ashmolean Museum
Città di Castello
Crucifixion of Jesus
Francis of Assisi
Jesus
John the Evangelist
Mary Magdalene
Monteripido Altarpiece
Perugia
Raphael
Jerome
San Francesco al Monte
Umbria


section

モンドの磔刑

The main panel portrays the Crucifixion of Jesus, against a background of hills in the Umbrian countryside, with a view of Città di Castello in the distance.  Jesus looks peaceful even as he is dying on the cross, crowned with thorns and clad only in a loincloth that has an unusual red colour.  Above, a sun in gold leaf and moon in silver leaf appear together in the sky.  Two angels with flowing robes and scrolling ribbons at their waists, one floating to either side of the cross, are using gold chalices similar to communion vessels to catch the blood dripping from Jesus' nail-pierced hands and spurting from the wound in his side. To the proper right  kneels Mary Magdalene, with John the Evangelist standing behind her.  To the proper left  his mother Mary stands behind the kneeling Saint Jerome, who is holding a stone with which the hermit would piously beat his own chest.  The two kneeling figures are both reverently contemplating Jesus on the cross, while the two standing figures are wringing their hands while looking out at the viewer.  A panel at the top of the cross bears the inscription "INRI", while the foot of the cross bears a tin inscription in silver letters: "" .  The work is lit from the left, consistent with the illumination of the altarpiece by the windows in the chapel. The main panel measures  and is now housed in a 19th-century frame. The geometrical precision of the composition suggest it was laid out using a grid, using a rule and compasses to copy from a preparatory drawings.A drawing of a kneeling person, perhaps a study for the figure of Mary Magdalene, is held by the Ashmolean Museum in Oxford.The painting was influenced by Perugino, whom Raphael knew while living in Perugia.  It is similar to Perugino's c.1502 Monteripido Altarpiece, made the convent of San Francesco al Monte at Monteripido near Perugia, a similar crucifixion scene which has two similar angels with ribbons catching the blood of Jesus is chalices, accompanied by four figures, two standing and two kneeling, including the Virgin Mary, John the Evangelist, and Mary Magdalene, but the fourth is Francis of Assisi rather than Saint Jerome.  In the Mond Crucifixion, Raphael has used Perugino's technique of cross-hatched shadows, but also used his fingers to smear and soften the wet paint in places, leaving some detectable fingerprints.  Vasari later famously commented that no one would have believed it was painted by Raphael rather than Perugino if he had not signed it.

Prompt: モンドの磔刑に関して、どのようにメインパネルが議論されていますか？英語で出力して下さい。

Altarpiece
Ashmolean Museum
Città di Castello
Crucifixion of Jesus
Francis of Assisi
Jesus
John the Evangelist
Mary Magdalene
Monteripido Altarpiece
Perugia
Raphael
Jerome
San Francesco al Monte
Umbria


section

モンドの磔刑

The two surviving panels of the predella each measure approximately  and depict miracles from the life story of Saint Jerome from the Hierominianum of Giovanni d'Andrea.  Saint Jerome lived in the late 4th and early 5th century AD, so he could not have attended the crucifixion, but he is portrayed here as the patron saint of the chapel. One of the surviving predella panels has been in the Museu Nacional de Arte Antiga in Lisbon since 1866.  It depicts Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak  Eusebius of Cremona was a close associate and active supporter of Jerome against the teachings of Origen.The other surviving predella panel is in the North Carolina Museum of Art in Raleigh, North Carolina.  It depicts Saint Jerome saving Silvanus and punishing the Heretic Sabinianus.  Saint Jerome is holding back the arm of the executioner ready to behead bishop Silvanus, but the heretic Sabinianus has been miraculously decapitated instead.

Prompt: モンドの磔刑に焦点を当てて、そのプレデッラを説明してください。英語で出力して下さい。

Eusebius of Cremona
Giovanni d'Andrea
Lisbon
North Carolina Museum of Art
Origen
Raleigh, North Carolina
Jerome


section

モンドの磔刑

The two surviving panels of the predella each measure approximately  and depict miracles from the life story of Saint Jerome from the Hierominianum of Giovanni d'Andrea.  Saint Jerome lived in the late 4th and early 5th century AD, so he could not have attended the crucifixion, but he is portrayed here as the patron saint of the chapel. One of the surviving predella panels has been in the Museu Nacional de Arte Antiga in Lisbon since 1866.  It depicts Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak  Eusebius of Cremona was a close associate and active supporter of Jerome against the teachings of Origen.The other surviving predella panel is in the North Carolina Museum of Art in Raleigh, North Carolina.  It depicts Saint Jerome saving Silvanus and punishing the Heretic Sabinianus.  Saint Jerome is holding back the arm of the executioner ready to behead bishop Silvanus, but the heretic Sabinianus has been miraculously decapitated instead.

Prompt: モンドの磔刑のプレデッラを説明してください。英語で出力して下さい。

Eusebius of Cremona
Giovanni d'Andrea
Lisbon
North Carolina Museum of Art
Origen
Raleigh, North Carolina
Jerome


section

モンドの磔刑

The two surviving panels of the predella each measure approximately  and depict miracles from the life story of Saint Jerome from the Hierominianum of Giovanni d'Andrea.  Saint Jerome lived in the late 4th and early 5th century AD, so he could not have attended the crucifixion, but he is portrayed here as the patron saint of the chapel. One of the surviving predella panels has been in the Museu Nacional de Arte Antiga in Lisbon since 1866.  It depicts Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak  Eusebius of Cremona was a close associate and active supporter of Jerome against the teachings of Origen.The other surviving predella panel is in the North Carolina Museum of Art in Raleigh, North Carolina.  It depicts Saint Jerome saving Silvanus and punishing the Heretic Sabinianus.  Saint Jerome is holding back the arm of the executioner ready to behead bishop Silvanus, but the heretic Sabinianus has been miraculously decapitated instead.

Prompt: モンドの磔刑はどのようにプレデッラを説明していますか？英語で出力して下さい。

Eusebius of Cremona
Giovanni d'Andrea
Lisbon
North Carolina Museum of Art
Origen
Raleigh, North Carolina
Jerome


section

モンドの磔刑

The two surviving panels of the predella each measure approximately  and depict miracles from the life story of Saint Jerome from the Hierominianum of Giovanni d'Andrea.  Saint Jerome lived in the late 4th and early 5th century AD, so he could not have attended the crucifixion, but he is portrayed here as the patron saint of the chapel. One of the surviving predella panels has been in the Museu Nacional de Arte Antiga in Lisbon since 1866.  It depicts Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak  Eusebius of Cremona was a close associate and active supporter of Jerome against the teachings of Origen.The other surviving predella panel is in the North Carolina Museum of Art in Raleigh, North Carolina.  It depicts Saint Jerome saving Silvanus and punishing the Heretic Sabinianus.  Saint Jerome is holding back the arm of the executioner ready to behead bishop Silvanus, but the heretic Sabinianus has been miraculously decapitated instead.

Prompt: モンドの磔刑に関して、どのようにプレデッラが議論されていますか？英語で出力して下さい。

Eusebius of Cremona
Giovanni d'Andrea
Lisbon
North Carolina Museum of Art
Origen
Raleigh, North Carolina
Jerome


section

モンドの磔刑

The main panel was bought by Cardinal Fesch in 1808 for 2500 scudi, and replaced in the chapel by a copy.  At the Fesch sale in 1845, it was sold to the Principe di Canino, and quickly bought by Lord Ward .  It was then in several English collections, and eventually acquired by Ludwig Mond in 1892, after whose death in 1909 it was acquired by the National Gallery in 1924.The predella panels seem to have been removed in the 17th century, and given as gifts to a visiting cardinal.  The panel in North Carolina was formerly in the collection of Sir Francis Cook at Doughty House, Richmond, London.

Prompt: モンドの磔刑に焦点を当てて、その起源を説明してください。英語で出力して下さい。

Doughty House
London
Ludwig Mond
National Gallery
Richmond, London


section

モンドの磔刑

The main panel was bought by Cardinal Fesch in 1808 for 2500 scudi, and replaced in the chapel by a copy.  At the Fesch sale in 1845, it was sold to the Principe di Canino, and quickly bought by Lord Ward .  It was then in several English collections, and eventually acquired by Ludwig Mond in 1892, after whose death in 1909 it was acquired by the National Gallery in 1924.The predella panels seem to have been removed in the 17th century, and given as gifts to a visiting cardinal.  The panel in North Carolina was formerly in the collection of Sir Francis Cook at Doughty House, Richmond, London.

Prompt: モンドの磔刑の起源を説明してください。英語で出力して下さい。

Doughty House
London
Ludwig Mond
National Gallery
Richmond, London


section

モンドの磔刑

The main panel was bought by Cardinal Fesch in 1808 for 2500 scudi, and replaced in the chapel by a copy.  At the Fesch sale in 1845, it was sold to the Principe di Canino, and quickly bought by Lord Ward .  It was then in several English collections, and eventually acquired by Ludwig Mond in 1892, after whose death in 1909 it was acquired by the National Gallery in 1924.The predella panels seem to have been removed in the 17th century, and given as gifts to a visiting cardinal.  The panel in North Carolina was formerly in the collection of Sir Francis Cook at Doughty House, Richmond, London.

Prompt: モンドの磔刑はどのように起源を説明していますか？英語で出力して下さい。

Doughty House
London
Ludwig Mond
National Gallery
Richmond, London


section

モンドの磔刑

The main panel was bought by Cardinal Fesch in 1808 for 2500 scudi, and replaced in the chapel by a copy.  At the Fesch sale in 1845, it was sold to the Principe di Canino, and quickly bought by Lord Ward .  It was then in several English collections, and eventually acquired by Ludwig Mond in 1892, after whose death in 1909 it was acquired by the National Gallery in 1924.The predella panels seem to have been removed in the 17th century, and given as gifts to a visiting cardinal.  The panel in North Carolina was formerly in the collection of Sir Francis Cook at Doughty House, Richmond, London.

Prompt: モンドの磔刑に関して、どのように起源が議論されていますか？英語で出力して下さい。

Doughty House
London
Ludwig Mond
National Gallery
Richmond, London


section

モンドの磔刑

The main panel was analyzed in the National Gallery London and the typical pigments of the Renaissance period were identified. He painted the Crucifixion among other pigments with natural ultramarine, lead-tin-yellow, verdigris, vermilion and ochres.

Prompt: モンドの磔刑に焦点を当てて、その絵画材料を説明してください。英語で出力して下さい。


section

モンドの磔刑

The main panel was analyzed in the National Gallery London and the typical pigments of the Renaissance period were identified. He painted the Crucifixion among other pigments with natural ultramarine, lead-tin-yellow, verdigris, vermilion and ochres.

Prompt: モンドの磔刑の絵画材料を説明してください。英語で出力して下さい。


section

モンドの磔刑

The main panel was analyzed in the National Gallery London and the typical pigments of the Renaissance period were identified. He painted the Crucifixion among other pigments with natural ultramarine, lead-tin-yellow, verdigris, vermilion and ochres.

Prompt: モンドの磔刑はどのように絵画材料を説明していますか？英語で出力して下さい。


section

モンドの磔刑

The main panel was analyzed in the National Gallery London and the typical pigments of the Renaissance period were identified. He painted the Crucifixion among other pigments with natural ultramarine, lead-tin-yellow, verdigris, vermilion and ochres.

Prompt: モンドの磔刑に関して、どのように絵画材料が議論されていますか？英語で出力して下さい。


section

モンドの磔刑

Prompt: モンドの磔刑に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

モンドの磔刑

Prompt: モンドの磔刑の参照を説明してください。英語で出力して下さい。


section

モンドの磔刑

Prompt: モンドの磔刑はどのように参照を説明していますか？英語で出力して下さい。


section

モンドの磔刑

Prompt: モンドの磔刑に関して、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

アンシデイの聖母

The Ansidei Madonna  is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

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

High Renaissance
John the Baptist
London
National Gallery
Raphael
Saint Nicholas


section

アンシデイの聖母

The Ansidei Madonna  is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

Prompt: アンシデイの聖母の抽象を説明してください。英語で出力して下さい。

High Renaissance
John the Baptist
London
National Gallery
Raphael
Saint Nicholas


section

アンシデイの聖母

The Ansidei Madonna  is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

Prompt: アンシデイの聖母はどのように抽象を説明していますか？英語で出力して下さい。

High Renaissance
John the Baptist
London
National Gallery
Raphael
Saint Nicholas


section

アンシデイの聖母

The Ansidei Madonna  is a 1505–1507 painting by the Italian High Renaissance artist Raphael, painted during his Florentine period. It shows the Blessed Virgin Mary sitting on a wooden throne, with the child Christ on her lap. On her right John the Baptist stands, on her left Saint Nicholas is reading.At the time the painting was commissioned, there were other paintings that made up the grouping for the altarpiece.  Of the predellas, the only that remains is Saint John the Baptist Preaching, the others are inexplicably lost.Both the main painting, "Ansidei Madonna", and the predella "Saint John the Baptist Preaching", are located at the National Gallery in London.

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

High Renaissance
John the Baptist
London
National Gallery
Raphael
Saint Nicholas


section

アンシデイの聖母

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Prompt: アンシデイの聖母に焦点を当てて、その絵画を説明してください。英語で出力して下さい。


section

アンシデイの聖母

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Prompt: アンシデイの聖母の絵画を説明してください。英語で出力して下さい。


section

アンシデイの聖母

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Prompt: アンシデイの聖母はどのように絵画を説明していますか？英語で出力して下さい。


section

アンシデイの聖母

The Virgin sits formally on a high throne, with an adult Saint John the Baptist on the left, and Saint Nicholas of Bari to the right. Painted for effect rather than realism, the throne has no arms and the steps are very steep, but beautifully set off the arches above and the approach to the throne.

Prompt: アンシデイの聖母に関して、どのように絵画が議論されていますか？英語で出力して下さい。


section

アンシデイの聖母

There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", or nearly unanimously cited at £70,000, to the London National Gallery in 1885.

Prompt: アンシデイの聖母に焦点を当てて、そのコミッション、来歴を説明してください。英語で出力して下さい。

Blenheim Palace
London
National Gallery
Raphael


section

アンシデイの聖母

There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", or nearly unanimously cited at £70,000, to the London National Gallery in 1885.

Prompt: アンシデイの聖母のコミッション、来歴を説明してください。英語で出力して下さい。

Blenheim Palace
London
National Gallery
Raphael


section

アンシデイの聖母

There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", or nearly unanimously cited at £70,000, to the London National Gallery in 1885.

Prompt: アンシデイの聖母はどのようにコミッション、来歴を説明していますか？英語で出力して下さい。

Blenheim Palace
London
National Gallery
Raphael


section

アンシデイの聖母

There is some question about the date, or dates, of the painting.  Original understanding was that the painting was begun in 1505, fitting with Raphael's style at that time, strongly influenced by Perugino. Careful observation revealed that the painting was dated 1507.  One can fairly reasonably assume, however, based upon Raphael's style, that the work was started in 1505 and finished in 1507.The chapel that housed the "Ansidei Madonna" was dismantled in 1763 when the church of San Fiorenzo was remodeled.  The chapel was reassembled and now contains a 19th-century copy of its original altarpiece, the "Ansidei Madonna", by Raphael. The work was bought by young Lord Robert Spenser in 1764, for an undisclosed, but apparently large sum of money as a gift to his brother, the 4th Duke of Marlborough. Placed in Blenheim Palace, one of the most magnificent buildings in Europe and home of the Duke of Marlborough, the work was sometimes known as the "Blenheim Madonna.""Ansidei Madonna", considered "one of the most perfect pictures of the world", or nearly unanimously cited at £70,000, to the London National Gallery in 1885.

Prompt: アンシデイの聖母に関して、どのようにコミッション、来歴が議論されていますか？英語で出力して下さい。

Blenheim Palace
London
National Gallery
Raphael


section

アンシデイの聖母

Prompt: アンシデイの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

アンシデイの聖母

Prompt: アンシデイの聖母の参照を説明してください。英語で出力して下さい。


section

アンシデイの聖母

Prompt: アンシデイの聖母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

アンシデイの聖母

Prompt: アンシデイの聖母に関して、どのように参照が議論されていますか？英語で出力して下さい。


subsection

アンシデイの聖母

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity: Madonna, by her complete devotion to her child, Christ child through his secure faith in his mother, St. John through his contemplative expression of his spiritual journey, Bishop Nicholas of Bari through spiritual knowledge, and the soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Prompt: アンシデイの聖母の文脈で、卓越 静寂 神聖と絵画を説明してください。英語で出力して下さい。

Bari
Christianity
God
John the Baptist
National Gallery


subsection

アンシデイの聖母

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity: Madonna, by her complete devotion to her child, Christ child through his secure faith in his mother, St. John through his contemplative expression of his spiritual journey, Bishop Nicholas of Bari through spiritual knowledge, and the soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Prompt: アンシデイの聖母の絵画に関する卓越 静寂 神聖を説明してください。英語で出力して下さい。

Bari
Christianity
God
John the Baptist
National Gallery


subsection

アンシデイの聖母

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity: Madonna, by her complete devotion to her child, Christ child through his secure faith in his mother, St. John through his contemplative expression of his spiritual journey, Bishop Nicholas of Bari through spiritual knowledge, and the soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Prompt: アンシデイの聖母では、どのように絵画の卓越 静寂 神聖が説明されていますか？英語で出力して下さい。

Bari
Christianity
God
John the Baptist
National Gallery


subsection

アンシデイの聖母

The Ansidei Madonna was greatly influenced by the strict expression of divinity of the Umbrian School within his Florentine Period. Above the Madonna's throne is inscribed "Hail, Mother of Christ." This compares to the more natural poses and interaction found in Madonna, the Christ Child and infant John the Baptist in paintings of his Roman period.Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such an embodiment of the best of Christianity, for several reasons.  First, the execution was near perfect and well-weathered the test of centuries of time. The gold within the painting looks real, but was totally painted by affect. Secondly, another test of a great painting, the characters look serene.  Third, the painting attracts attention to the spirit or soul of a character, rather than their appearance. And, last, you see joy, contentment or beauty in the face of the subject, not negative connotations, such as pain or vileness.Each subject and the landscape of "Ansidei Madonna" evokes serenity and divinity: Madonna, by her complete devotion to her child, Christ child through his secure faith in his mother, St. John through his contemplative expression of his spiritual journey, Bishop Nicholas of Bari through spiritual knowledge, and the soothing landscape and the open, infinite sky, closest to God.The three balls at Bishop Nicholas' feet may symbolize the holy trinity, or the three bags of gold he is said to have thrown into the window of a poor man's home for his daughters' welfare.

Prompt: アンシデイの聖母の絵画における卓越 静寂 神聖の特徴を説明してください。英語で出力して下さい。

Bari
Christianity
God
John the Baptist
National Gallery


subsection

アンシデイの聖母

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Prompt: アンシデイの聖母の文脈で、若旦那と絵画を説明してください。英語で出力して下さい。

Donatello
Florence
Leonardo da Vinci
Masaccio
Michelangelo
Raphael


subsection

アンシデイの聖母

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Prompt: アンシデイの聖母の絵画に関する若旦那を説明してください。英語で出力して下さい。

Donatello
Florence
Leonardo da Vinci
Masaccio
Michelangelo
Raphael


subsection

アンシデイの聖母

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Prompt: アンシデイの聖母では、どのように絵画の若旦那が説明されていますか？英語で出力して下さい。

Donatello
Florence
Leonardo da Vinci
Masaccio
Michelangelo
Raphael


subsection

アンシデイの聖母

Raphael's years in Florence exposed him to a plethora of artistic influences, first his teacher Perugino and then others, such as Donatello's sculptured marble, Masaccio's frescoes, Michelangelo's David, Leonardo da Vinci's paintings, and so much more which Raphael used to develop his fine-tuned sense of style, composition and execution as seen in the "Ansidei Madonna".Raphael achieved excellence in Ansidei Madonna through execution of every minute detail. A master at the young age of twenty-three, Raphael brought new life to well-represented subjects, through careful, methodic performance.  Care is represented by what one does – and what one does not do, or more clearly: "There is a saying that a true artist is known best by what he omits."  Consider the landscape behind our subjects, it is clean and serene, not overdone with unnecessary detail.  When color is used, it is used decidedly and for effect, such as the jeweled robe, the chaplet of red coral.In 1508 Raphael arrived in Rome at the age of twenty-five and already a great reputation as a master of the arts, known for such works as "Madonna of the Grand Duke", "Madonna of the Goldfinch", "Ansidei Madonna" and more.

Prompt: アンシデイの聖母の絵画における若旦那の特徴を説明してください。英語で出力して下さい。

Donatello
Florence
Leonardo da Vinci
Masaccio
Michelangelo
Raphael


subsection

アンシデイの聖母

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Prompt: アンシデイの聖母の文脈で、ウンブリア派の孤立したキャラクターと絵画を説明してください。英語で出力して下さい。