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テュイルリー公園の音楽会

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Prompt: テュイルリー公園の音楽会に焦点を当てて、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。


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テュイルリー公園の音楽会

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Prompt: テュイルリー公園の音楽会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

テュイルリー公園の音楽会

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Prompt: テュイルリー公園の音楽会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

テュイルリー公園の音楽会

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

Prompt: テュイルリー公園の音楽会に関して、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。


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テュイルリー公園の音楽会

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

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


section

テュイルリー公園の音楽会

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

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


section

テュイルリー公園の音楽会

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

Prompt: テュイルリー公園の音楽会はどのように受付を説明していますか？英語で出力して下さい。


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テュイルリー公園の音楽会

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.

Prompt: テュイルリー公園の音楽会に関して、どのように受付が議論されていますか？英語で出力して下さい。


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テュイルリー公園の音楽会

List of paintings by Édouard Manet 1862 in art

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

1862 in art
List of paintings by Édouard Manet
Édouard Manet


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テュイルリー公園の音楽会

List of paintings by Édouard Manet 1862 in art

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

1862 in art
List of paintings by Édouard Manet
Édouard Manet


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テュイルリー公園の音楽会

List of paintings by Édouard Manet 1862 in art

Prompt: テュイルリー公園の音楽会はどのように参照を説明していますか？英語で出力して下さい。

1862 in art
List of paintings by Édouard Manet
Édouard Manet


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テュイルリー公園の音楽会

List of paintings by Édouard Manet 1862 in art

Prompt: テュイルリー公園の音楽会に関して、どのように参照が議論されていますか？英語で出力して下さい。

1862 in art
List of paintings by Édouard Manet
Édouard Manet


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最後の晩餐

The Sacrament of the st Supper is a painting by Salvador Dalí. Completed in 1955, after nine months of work, it remains one of his most popular compositions. Since its arrival at the National Gallery of Art in Washington, D.C. in 1955, it replaced Renoir's A Girl with a Watering Can as the most popular piece in the museum.

Prompt: 最後の晩餐に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

A Girl with a Watering Can
National Gallery of Art
Salvador Dalí
Washington, D.C.


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最後の晩餐

The Sacrament of the st Supper is a painting by Salvador Dalí. Completed in 1955, after nine months of work, it remains one of his most popular compositions. Since its arrival at the National Gallery of Art in Washington, D.C. in 1955, it replaced Renoir's A Girl with a Watering Can as the most popular piece in the museum.

Prompt: 最後の晩餐の抽象を説明してください。英語で出力して下さい。

A Girl with a Watering Can
National Gallery of Art
Salvador Dalí
Washington, D.C.


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最後の晩餐

The Sacrament of the st Supper is a painting by Salvador Dalí. Completed in 1955, after nine months of work, it remains one of his most popular compositions. Since its arrival at the National Gallery of Art in Washington, D.C. in 1955, it replaced Renoir's A Girl with a Watering Can as the most popular piece in the museum.

Prompt: 最後の晩餐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。

A Girl with a Watering Can
National Gallery of Art
Salvador Dalí
Washington, D.C.


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最後の晩餐

The Sacrament of the st Supper is a painting by Salvador Dalí. Completed in 1955, after nine months of work, it remains one of his most popular compositions. Since its arrival at the National Gallery of Art in Washington, D.C. in 1955, it replaced Renoir's A Girl with a Watering Can as the most popular piece in the museum.

Prompt: 最後の晩餐に関して、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。

A Girl with a Watering Can
National Gallery of Art
Salvador Dalí
Washington, D.C.


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最後の晩餐

The Sacrament of the st Supper was completed during Dalí's post-World War II period, which is characterized by his increased interest in science, optical illusion and religion. During this time he became a devout Roman Catholic and simultaneously was astonished by the "atomic age". Dalí himself labelled this era in his work "Nuclear Mysticism". He sought to combine traditional Christian iconography with images of disintegration. This is especially apparent in his piece The Madonna of Port Lligat, which was completed six years earlier.The painting was not commissioned. After purchasing the Crucifixion and then giving it to the Metropolitan Museum of Art, collector and banker Chester Dale told Dalí he "had to do one more religious picture". Dale believed that this picture was "too important to keep for a few" and so donated it to the National Gallery. In a paragraph in the National Gallery's curatorial file but missing from all published accounts, Dalí wrote of this picture:</ref>}}

Prompt: 最後の晩餐に焦点を当てて、その背景を説明してください。英語で出力して下さい。

Chester Dale
Metropolitan Museum of Art
The Madonna of Port Lligat


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最後の晩餐

The Sacrament of the st Supper was completed during Dalí's post-World War II period, which is characterized by his increased interest in science, optical illusion and religion. During this time he became a devout Roman Catholic and simultaneously was astonished by the "atomic age". Dalí himself labelled this era in his work "Nuclear Mysticism". He sought to combine traditional Christian iconography with images of disintegration. This is especially apparent in his piece The Madonna of Port Lligat, which was completed six years earlier.The painting was not commissioned. After purchasing the Crucifixion and then giving it to the Metropolitan Museum of Art, collector and banker Chester Dale told Dalí he "had to do one more religious picture". Dale believed that this picture was "too important to keep for a few" and so donated it to the National Gallery. In a paragraph in the National Gallery's curatorial file but missing from all published accounts, Dalí wrote of this picture:</ref>}}

Prompt: 最後の晩餐の背景を説明してください。英語で出力して下さい。

Chester Dale
Metropolitan Museum of Art
The Madonna of Port Lligat


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最後の晩餐

The Sacrament of the st Supper was completed during Dalí's post-World War II period, which is characterized by his increased interest in science, optical illusion and religion. During this time he became a devout Roman Catholic and simultaneously was astonished by the "atomic age". Dalí himself labelled this era in his work "Nuclear Mysticism". He sought to combine traditional Christian iconography with images of disintegration. This is especially apparent in his piece The Madonna of Port Lligat, which was completed six years earlier.The painting was not commissioned. After purchasing the Crucifixion and then giving it to the Metropolitan Museum of Art, collector and banker Chester Dale told Dalí he "had to do one more religious picture". Dale believed that this picture was "too important to keep for a few" and so donated it to the National Gallery. In a paragraph in the National Gallery's curatorial file but missing from all published accounts, Dalí wrote of this picture:</ref>}}

Prompt: 最後の晩餐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。

Chester Dale
Metropolitan Museum of Art
The Madonna of Port Lligat


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最後の晩餐

The Sacrament of the st Supper was completed during Dalí's post-World War II period, which is characterized by his increased interest in science, optical illusion and religion. During this time he became a devout Roman Catholic and simultaneously was astonished by the "atomic age". Dalí himself labelled this era in his work "Nuclear Mysticism". He sought to combine traditional Christian iconography with images of disintegration. This is especially apparent in his piece The Madonna of Port Lligat, which was completed six years earlier.The painting was not commissioned. After purchasing the Crucifixion and then giving it to the Metropolitan Museum of Art, collector and banker Chester Dale told Dalí he "had to do one more religious picture". Dale believed that this picture was "too important to keep for a few" and so donated it to the National Gallery. In a paragraph in the National Gallery's curatorial file but missing from all published accounts, Dalí wrote of this picture:</ref>}}

Prompt: 最後の晩餐に関して、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。

Chester Dale
Metropolitan Museum of Art
The Madonna of Port Lligat


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最後の晩餐

The Sacrament of the st Supper depicts thirteen figures gathered around a table. Assuming this painting is in line with traditional symbolism the figures are Christ and his 12 Apostles. Christ is the central figure in the painting placed directly on the horizon line. Behind him on the intersection point of perspective rests the source of sunlight, making the Christ figure the focus of the painting. He points upward directing the viewer's attention to a dominating transparent torso with arms stretched outward spanning the width of the picture plane. The scene's setting is within a transparent dodecahedron or twelve-sided space as perceived in the pentagon-shaped windowpanes behind the table. In the background is a familiar landscape of Catalonia, which Dalí has included in his paintings numerous times, one example being his famous painting The Persistence of Memory.

Prompt: 最後の晩餐に焦点を当てて、その説明を説明してください。英語で出力して下さい。


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最後の晩餐

The Sacrament of the st Supper depicts thirteen figures gathered around a table. Assuming this painting is in line with traditional symbolism the figures are Christ and his 12 Apostles. Christ is the central figure in the painting placed directly on the horizon line. Behind him on the intersection point of perspective rests the source of sunlight, making the Christ figure the focus of the painting. He points upward directing the viewer's attention to a dominating transparent torso with arms stretched outward spanning the width of the picture plane. The scene's setting is within a transparent dodecahedron or twelve-sided space as perceived in the pentagon-shaped windowpanes behind the table. In the background is a familiar landscape of Catalonia, which Dalí has included in his paintings numerous times, one example being his famous painting The Persistence of Memory.

Prompt: 最後の晩餐の説明を説明してください。英語で出力して下さい。


section

最後の晩餐

The Sacrament of the st Supper depicts thirteen figures gathered around a table. Assuming this painting is in line with traditional symbolism the figures are Christ and his 12 Apostles. Christ is the central figure in the painting placed directly on the horizon line. Behind him on the intersection point of perspective rests the source of sunlight, making the Christ figure the focus of the painting. He points upward directing the viewer's attention to a dominating transparent torso with arms stretched outward spanning the width of the picture plane. The scene's setting is within a transparent dodecahedron or twelve-sided space as perceived in the pentagon-shaped windowpanes behind the table. In the background is a familiar landscape of Catalonia, which Dalí has included in his paintings numerous times, one example being his famous painting The Persistence of Memory.

Prompt: 最後の晩餐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

最後の晩餐

The Sacrament of the st Supper depicts thirteen figures gathered around a table. Assuming this painting is in line with traditional symbolism the figures are Christ and his 12 Apostles. Christ is the central figure in the painting placed directly on the horizon line. Behind him on the intersection point of perspective rests the source of sunlight, making the Christ figure the focus of the painting. He points upward directing the viewer's attention to a dominating transparent torso with arms stretched outward spanning the width of the picture plane. The scene's setting is within a transparent dodecahedron or twelve-sided space as perceived in the pentagon-shaped windowpanes behind the table. In the background is a familiar landscape of Catalonia, which Dalí has included in his paintings numerous times, one example being his famous painting The Persistence of Memory.

Prompt: 最後の晩餐に関して、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

最後の晩餐

The combination of a classic Christian theme with the jarring techniques of surrealism captures the eye, as Dalí was able to do repeatedly with such works as The Temptation of St. Anthony, Christ of Saint John of the Cross, Crucifixion , Nuclear Cross, and The Ecumenical Council, among others. The dimensions of the painting are in the golden ratio, as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical".There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". Michael Anthony Novak, a Catholic theologian, presented a paper on the subject of this piece in 2005. He proposes that Dalí's intention was not simply to paint the event of the last supper. He later stated:</ref>}}Other critics, like Novak, say, by looking at the title, the focus is not placed on one evening two thousand years ago. The lack of individualization of the apostles, their lack of focus on Christ and the almost dematerialized Christ reach beyond the fact of the event. Some say because Christ points to himself and the floating torso above him it could possibly be that he is referring to himself as already ascended to heaven.

Prompt: 最後の晩餐に焦点を当てて、その象徴、解釈を説明してください。英語で出力して下さい。

Christ of Saint John of the Cross
Nuclear Cross
Paul Tillich


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最後の晩餐

The combination of a classic Christian theme with the jarring techniques of surrealism captures the eye, as Dalí was able to do repeatedly with such works as The Temptation of St. Anthony, Christ of Saint John of the Cross, Crucifixion , Nuclear Cross, and The Ecumenical Council, among others. The dimensions of the painting are in the golden ratio, as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical".There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". Michael Anthony Novak, a Catholic theologian, presented a paper on the subject of this piece in 2005. He proposes that Dalí's intention was not simply to paint the event of the last supper. He later stated:</ref>}}Other critics, like Novak, say, by looking at the title, the focus is not placed on one evening two thousand years ago. The lack of individualization of the apostles, their lack of focus on Christ and the almost dematerialized Christ reach beyond the fact of the event. Some say because Christ points to himself and the floating torso above him it could possibly be that he is referring to himself as already ascended to heaven.

Prompt: 最後の晩餐の象徴、解釈を説明してください。英語で出力して下さい。

Christ of Saint John of the Cross
Nuclear Cross
Paul Tillich


section

最後の晩餐

The combination of a classic Christian theme with the jarring techniques of surrealism captures the eye, as Dalí was able to do repeatedly with such works as The Temptation of St. Anthony, Christ of Saint John of the Cross, Crucifixion , Nuclear Cross, and The Ecumenical Council, among others. The dimensions of the painting are in the golden ratio, as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical".There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". Michael Anthony Novak, a Catholic theologian, presented a paper on the subject of this piece in 2005. He proposes that Dalí's intention was not simply to paint the event of the last supper. He later stated:</ref>}}Other critics, like Novak, say, by looking at the title, the focus is not placed on one evening two thousand years ago. The lack of individualization of the apostles, their lack of focus on Christ and the almost dematerialized Christ reach beyond the fact of the event. Some say because Christ points to himself and the floating torso above him it could possibly be that he is referring to himself as already ascended to heaven.

Prompt: 最後の晩餐はどのように象徴、解釈を説明していますか？英語で出力して下さい。

Christ of Saint John of the Cross
Nuclear Cross
Paul Tillich


section

最後の晩餐

The combination of a classic Christian theme with the jarring techniques of surrealism captures the eye, as Dalí was able to do repeatedly with such works as The Temptation of St. Anthony, Christ of Saint John of the Cross, Crucifixion , Nuclear Cross, and The Ecumenical Council, among others. The dimensions of the painting are in the golden ratio, as is the dodecahedron in the background. Dalí is quoted as saying that "the Communion must be symmetrical".There have been many interpretations of this painting, but some critics have dismissed the piece, with the Protestant theologian Paul Tillich even calling it "junk". Michael Anthony Novak, a Catholic theologian, presented a paper on the subject of this piece in 2005. He proposes that Dalí's intention was not simply to paint the event of the last supper. He later stated:</ref>}}Other critics, like Novak, say, by looking at the title, the focus is not placed on one evening two thousand years ago. The lack of individualization of the apostles, their lack of focus on Christ and the almost dematerialized Christ reach beyond the fact of the event. Some say because Christ points to himself and the floating torso above him it could possibly be that he is referring to himself as already ascended to heaven.

Prompt: 最後の晩餐に関して、どのように象徴、解釈が議論されていますか？英語で出力して下さい。

Christ of Saint John of the Cross
Nuclear Cross
Paul Tillich


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最後の晩餐

st Supper in Christian art List of works by Salvador Dalí

Prompt: 最後の晩餐に焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of works by Salvador Dalí
Salvador Dalí


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最後の晩餐

st Supper in Christian art List of works by Salvador Dalí

Prompt: 最後の晩餐の参照を説明してください。英語で出力して下さい。

List of works by Salvador Dalí
Salvador Dalí


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最後の晩餐

st Supper in Christian art List of works by Salvador Dalí

Prompt: 最後の晩餐はどのように参照を説明していますか？英語で出力して下さい。

List of works by Salvador Dalí
Salvador Dalí


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最後の晩餐

st Supper in Christian art List of works by Salvador Dalí

Prompt: 最後の晩餐に関して、どのように参照が議論されていますか？英語で出力して下さい。

List of works by Salvador Dalí
Salvador Dalí


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最後の晩餐

Brown, David. “The st Supper”.  A Sermon preached in Trinity College Chapel, Cambridge  accessed May 28,2013, http://www.trinitycollegechapel.com/media/filestore/sermons/BrownstSupper250207.pdf.

Prompt: 最後の晩餐に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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最後の晩餐

Brown, David. “The st Supper”.  A Sermon preached in Trinity College Chapel, Cambridge  accessed May 28,2013, http://www.trinitycollegechapel.com/media/filestore/sermons/BrownstSupper250207.pdf.

Prompt: 最後の晩餐の参考文献を説明してください。英語で出力して下さい。


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最後の晩餐

Brown, David. “The st Supper”.  A Sermon preached in Trinity College Chapel, Cambridge  accessed May 28,2013, http://www.trinitycollegechapel.com/media/filestore/sermons/BrownstSupper250207.pdf.

Prompt: 最後の晩餐はどのように参考文献を説明していますか？英語で出力して下さい。


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最後の晩餐

Brown, David. “The st Supper”.  A Sermon preached in Trinity College Chapel, Cambridge  accessed May 28,2013, http://www.trinitycollegechapel.com/media/filestore/sermons/BrownstSupper250207.pdf.

Prompt: 最後の晩餐に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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ブレダの開城

}}  is a painting by the Spanish Golden Age painter Diego Velázquez. It was completed during the years 1634–35, inspired by Velázquez's visit to Italy with Ambrogio Spinola, the Genoese-born Spanish general who conquered Breda on June 5, 1625. The painting depicts the exchange of the key of Breda from the Dutch's possession, to the Spanish.It is considered one of Velázquez's best works. Velázquez composed The Surrender of Breda into two halves, which included the Dutch leader Justinus van Nassau, and Spanish Genoese general, Spinola. Jan Morris has called it "one of the most Spanish of all pictures".

Prompt: ブレダの開城に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Ambrogio Spinola
Breda
Diego Velázquez
Italy
Jan Morris
Justinus van Nassau
Spanish Golden Age


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ブレダの開城

}}  is a painting by the Spanish Golden Age painter Diego Velázquez. It was completed during the years 1634–35, inspired by Velázquez's visit to Italy with Ambrogio Spinola, the Genoese-born Spanish general who conquered Breda on June 5, 1625. The painting depicts the exchange of the key of Breda from the Dutch's possession, to the Spanish.It is considered one of Velázquez's best works. Velázquez composed The Surrender of Breda into two halves, which included the Dutch leader Justinus van Nassau, and Spanish Genoese general, Spinola. Jan Morris has called it "one of the most Spanish of all pictures".

Prompt: ブレダの開城の抽象を説明してください。英語で出力して下さい。

Ambrogio Spinola
Breda
Diego Velázquez
Italy
Jan Morris
Justinus van Nassau
Spanish Golden Age


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ブレダの開城

}}  is a painting by the Spanish Golden Age painter Diego Velázquez. It was completed during the years 1634–35, inspired by Velázquez's visit to Italy with Ambrogio Spinola, the Genoese-born Spanish general who conquered Breda on June 5, 1625. The painting depicts the exchange of the key of Breda from the Dutch's possession, to the Spanish.It is considered one of Velázquez's best works. Velázquez composed The Surrender of Breda into two halves, which included the Dutch leader Justinus van Nassau, and Spanish Genoese general, Spinola. Jan Morris has called it "one of the most Spanish of all pictures".

Prompt: ブレダの開城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。

Ambrogio Spinola
Breda
Diego Velázquez
Italy
Jan Morris
Justinus van Nassau
Spanish Golden Age


section

ブレダの開城

}}  is a painting by the Spanish Golden Age painter Diego Velázquez. It was completed during the years 1634–35, inspired by Velázquez's visit to Italy with Ambrogio Spinola, the Genoese-born Spanish general who conquered Breda on June 5, 1625. The painting depicts the exchange of the key of Breda from the Dutch's possession, to the Spanish.It is considered one of Velázquez's best works. Velázquez composed The Surrender of Breda into two halves, which included the Dutch leader Justinus van Nassau, and Spanish Genoese general, Spinola. Jan Morris has called it "one of the most Spanish of all pictures".

Prompt: ブレダの開城に関して、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。

Ambrogio Spinola
Breda
Diego Velázquez
Italy
Jan Morris
Justinus van Nassau
Spanish Golden Age


section

ブレダの開城

The Surrender of Breda depicts a military victory, the 1624 Siege of Breda, during the Eighty Years War. This war began due to a revolt against Philip II of Spain by the Seventeen Provinces, which today includes the Netherlands, Belgium and Luxembourg. Velázquez captured the end of the battle, as he also differentiated the two sides, one which is the Dutch, and the other side, the Spanish. The painting presents the Spanish as a strong force, while including both sides of the battle and depicting facial expressions of fatigue that reflect the reality of war.The painting was commissioned by Philip IV of Spain between 1630 and 1635 for the palace of Buen Retiro along the eastern city limits of Madrid. The painting was intended to glorify the military accomplishments and acquisition by the Spanish, uplifting Philip IV. At the time, Spain was in economic decline. The Surrender of Breda was displayed in the Hall of Realms with nineteen other paintings.The decoration of the Hall of Realms was directed by the Spanish minister, Gaspar de Guzmán, Count-Duke of Olivares. Velazquez was requested to paint relating to the subject of horse riding, one battle scene, and The Surrender of Breda. This work completed by Velazquez represents the most significant and undaunted painting in the Hall of Realms, as well as one of Velazquez's best works. Through the hundreds of paintings that Guzmán made use of, The Surrender of Breda would become the most important piece in the Hall of Realms.

Prompt: ブレダの開城に焦点を当てて、その背景を説明してください。英語で出力して下さい。


section

ブレダの開城

The Surrender of Breda depicts a military victory, the 1624 Siege of Breda, during the Eighty Years War. This war began due to a revolt against Philip II of Spain by the Seventeen Provinces, which today includes the Netherlands, Belgium and Luxembourg. Velázquez captured the end of the battle, as he also differentiated the two sides, one which is the Dutch, and the other side, the Spanish. The painting presents the Spanish as a strong force, while including both sides of the battle and depicting facial expressions of fatigue that reflect the reality of war.The painting was commissioned by Philip IV of Spain between 1630 and 1635 for the palace of Buen Retiro along the eastern city limits of Madrid. The painting was intended to glorify the military accomplishments and acquisition by the Spanish, uplifting Philip IV. At the time, Spain was in economic decline. The Surrender of Breda was displayed in the Hall of Realms with nineteen other paintings.The decoration of the Hall of Realms was directed by the Spanish minister, Gaspar de Guzmán, Count-Duke of Olivares. Velazquez was requested to paint relating to the subject of horse riding, one battle scene, and The Surrender of Breda. This work completed by Velazquez represents the most significant and undaunted painting in the Hall of Realms, as well as one of Velazquez's best works. Through the hundreds of paintings that Guzmán made use of, The Surrender of Breda would become the most important piece in the Hall of Realms.

Prompt: ブレダの開城の背景を説明してください。英語で出力して下さい。


section

ブレダの開城

The Surrender of Breda depicts a military victory, the 1624 Siege of Breda, during the Eighty Years War. This war began due to a revolt against Philip II of Spain by the Seventeen Provinces, which today includes the Netherlands, Belgium and Luxembourg. Velázquez captured the end of the battle, as he also differentiated the two sides, one which is the Dutch, and the other side, the Spanish. The painting presents the Spanish as a strong force, while including both sides of the battle and depicting facial expressions of fatigue that reflect the reality of war.The painting was commissioned by Philip IV of Spain between 1630 and 1635 for the palace of Buen Retiro along the eastern city limits of Madrid. The painting was intended to glorify the military accomplishments and acquisition by the Spanish, uplifting Philip IV. At the time, Spain was in economic decline. The Surrender of Breda was displayed in the Hall of Realms with nineteen other paintings.The decoration of the Hall of Realms was directed by the Spanish minister, Gaspar de Guzmán, Count-Duke of Olivares. Velazquez was requested to paint relating to the subject of horse riding, one battle scene, and The Surrender of Breda. This work completed by Velazquez represents the most significant and undaunted painting in the Hall of Realms, as well as one of Velazquez's best works. Through the hundreds of paintings that Guzmán made use of, The Surrender of Breda would become the most important piece in the Hall of Realms.

Prompt: ブレダの開城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。


section

ブレダの開城

The Surrender of Breda depicts a military victory, the 1624 Siege of Breda, during the Eighty Years War. This war began due to a revolt against Philip II of Spain by the Seventeen Provinces, which today includes the Netherlands, Belgium and Luxembourg. Velázquez captured the end of the battle, as he also differentiated the two sides, one which is the Dutch, and the other side, the Spanish. The painting presents the Spanish as a strong force, while including both sides of the battle and depicting facial expressions of fatigue that reflect the reality of war.The painting was commissioned by Philip IV of Spain between 1630 and 1635 for the palace of Buen Retiro along the eastern city limits of Madrid. The painting was intended to glorify the military accomplishments and acquisition by the Spanish, uplifting Philip IV. At the time, Spain was in economic decline. The Surrender of Breda was displayed in the Hall of Realms with nineteen other paintings.The decoration of the Hall of Realms was directed by the Spanish minister, Gaspar de Guzmán, Count-Duke of Olivares. Velazquez was requested to paint relating to the subject of horse riding, one battle scene, and The Surrender of Breda. This work completed by Velazquez represents the most significant and undaunted painting in the Hall of Realms, as well as one of Velazquez's best works. Through the hundreds of paintings that Guzmán made use of, The Surrender of Breda would become the most important piece in the Hall of Realms.

Prompt: ブレダの開城に関して、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。


section

ブレダの開城

The response to Velazquez's artwork was grand at the very least, with the critical reaction being that The Surrender of Breda was the most impressive Spanish works of art. Also, the artwork solidified Velazquez's effort as the most superb depiction of Spanish Baroque, provided that Baroque art was closely connected to humanity and how people should be seen and represented.

Prompt: ブレダの開城に焦点を当てて、その受付を説明してください。英語で出力して下さい。


section

ブレダの開城

The response to Velazquez's artwork was grand at the very least, with the critical reaction being that The Surrender of Breda was the most impressive Spanish works of art. Also, the artwork solidified Velazquez's effort as the most superb depiction of Spanish Baroque, provided that Baroque art was closely connected to humanity and how people should be seen and represented.

Prompt: ブレダの開城の受付を説明してください。英語で出力して下さい。


section

ブレダの開城

The response to Velazquez's artwork was grand at the very least, with the critical reaction being that The Surrender of Breda was the most impressive Spanish works of art. Also, the artwork solidified Velazquez's effort as the most superb depiction of Spanish Baroque, provided that Baroque art was closely connected to humanity and how people should be seen and represented.

Prompt: ブレダの開城はどのように受付を説明していますか？英語で出力して下さい。


section

ブレダの開城

The response to Velazquez's artwork was grand at the very least, with the critical reaction being that The Surrender of Breda was the most impressive Spanish works of art. Also, the artwork solidified Velazquez's effort as the most superb depiction of Spanish Baroque, provided that Baroque art was closely connected to humanity and how people should be seen and represented.

Prompt: ブレダの開城に関して、どのように受付が議論されていますか？英語で出力して下さい。


section

ブレダの開城

One of Velázquez's contemporaries, Peter Paul Rubens, has been cited to be an inspiration for the work connected to The Surrender of Breda. Despite differences in style between the two Baroque artists, Rubens' prior works such as The Reconciliation of Esau and Jacob, produced in 1624, has resemblance in terms of its composition and philosophical concepts. More commonly, Velázquez's piece has been tied to Rubens' Meeting of King Ferdinand of Hungary and Cardinal, completed in 1635. The possibility of influence on Rubens' later work has been argued, as both Velazquez and Rubens completed their work around the same time. More likely, both artists produced very similar work in addition to having such a close relationship. Velázquez's work also seems to have been inspired by his trip to Italy with Spinola.

Prompt: ブレダの開城に焦点を当てて、その影響を説明してください。英語で出力して下さい。

Breda
Italy
Peter Paul Rubens
The Reconciliation of Esau and Jacob


section

ブレダの開城

One of Velázquez's contemporaries, Peter Paul Rubens, has been cited to be an inspiration for the work connected to The Surrender of Breda. Despite differences in style between the two Baroque artists, Rubens' prior works such as The Reconciliation of Esau and Jacob, produced in 1624, has resemblance in terms of its composition and philosophical concepts. More commonly, Velázquez's piece has been tied to Rubens' Meeting of King Ferdinand of Hungary and Cardinal, completed in 1635. The possibility of influence on Rubens' later work has been argued, as both Velazquez and Rubens completed their work around the same time. More likely, both artists produced very similar work in addition to having such a close relationship. Velázquez's work also seems to have been inspired by his trip to Italy with Spinola.

Prompt: ブレダの開城の影響を説明してください。英語で出力して下さい。

Breda
Italy
Peter Paul Rubens
The Reconciliation of Esau and Jacob


section

ブレダの開城

One of Velázquez's contemporaries, Peter Paul Rubens, has been cited to be an inspiration for the work connected to The Surrender of Breda. Despite differences in style between the two Baroque artists, Rubens' prior works such as The Reconciliation of Esau and Jacob, produced in 1624, has resemblance in terms of its composition and philosophical concepts. More commonly, Velázquez's piece has been tied to Rubens' Meeting of King Ferdinand of Hungary and Cardinal, completed in 1635. The possibility of influence on Rubens' later work has been argued, as both Velazquez and Rubens completed their work around the same time. More likely, both artists produced very similar work in addition to having such a close relationship. Velázquez's work also seems to have been inspired by his trip to Italy with Spinola.

Prompt: ブレダの開城はどのように影響を説明していますか？英語で出力して下さい。

Breda
Italy
Peter Paul Rubens
The Reconciliation of Esau and Jacob


section

ブレダの開城

One of Velázquez's contemporaries, Peter Paul Rubens, has been cited to be an inspiration for the work connected to The Surrender of Breda. Despite differences in style between the two Baroque artists, Rubens' prior works such as The Reconciliation of Esau and Jacob, produced in 1624, has resemblance in terms of its composition and philosophical concepts. More commonly, Velázquez's piece has been tied to Rubens' Meeting of King Ferdinand of Hungary and Cardinal, completed in 1635. The possibility of influence on Rubens' later work has been argued, as both Velazquez and Rubens completed their work around the same time. More likely, both artists produced very similar work in addition to having such a close relationship. Velázquez's work also seems to have been inspired by his trip to Italy with Spinola.

Prompt: ブレダの開城に関して、どのように影響が議論されていますか？英語で出力して下さい。

Breda
Italy
Peter Paul Rubens
The Reconciliation of Esau and Jacob


section

ブレダの開城

The painting illustrates the exchange of keys that occurred three days after the capitulation between Spain and the Netherlands was signed on June 5, 1625. Hence, the focus of the painting is not on the battle itself, but rather the reconciliation. At the center of the painting, literally and figuratively, is the key given to Ambrogio Spinola by Justin of Nassau. This battle painting is notable for its static and sentimental qualities, as Velázquez left out the blood and gore that would normally be linked to the violence of such battles.The extraordinary respect and dignity Spinola demonstrated towards the Dutch army is praised through The Surrender of Breda. Spinola “had forbidden his troops to jeer at, or otherwise abuse the vanquished Dutch, and, according to a contemporary report, he himself saluted Justin.” The painting demonstrates the glimpses of humanity that can be exposed as a result of the war and commends Spinola's consideration for Nassau and the Dutch army.	Velázquez's relationship with Spinola makes The Surrender of Breda especially historically accurate. The depiction of Spinola is undoubtedly accurate, and Spinola's memory of the battle contributed to the perspective with which Velázquez composed the painting. Velázquez “desired in his modest way to raise a monument to one of the most humane captains of the day, by giving permanence to his true figure in a manner of which he alone had the secret.”Nevertheless, Velázquez made one remarkable mistake: Probably following Spinola's description, he painted the dutch Prince's Flag , which is dipped on the painting behind Justinus van Nassau's head to salute the victorious Spaniards, as horizontal tricolour of blue, red and white . In fact, the colour scheme was orange, white, blue .

Prompt: ブレダの開城に焦点を当てて、その歴史的正確性を説明してください。英語で出力して下さい。

Ambrogio Spinola
Breda
Justinus van Nassau
Netherlands
Prince's Flag
Spain


section

ブレダの開城

The painting illustrates the exchange of keys that occurred three days after the capitulation between Spain and the Netherlands was signed on June 5, 1625. Hence, the focus of the painting is not on the battle itself, but rather the reconciliation. At the center of the painting, literally and figuratively, is the key given to Ambrogio Spinola by Justin of Nassau. This battle painting is notable for its static and sentimental qualities, as Velázquez left out the blood and gore that would normally be linked to the violence of such battles.The extraordinary respect and dignity Spinola demonstrated towards the Dutch army is praised through The Surrender of Breda. Spinola “had forbidden his troops to jeer at, or otherwise abuse the vanquished Dutch, and, according to a contemporary report, he himself saluted Justin.” The painting demonstrates the glimpses of humanity that can be exposed as a result of the war and commends Spinola's consideration for Nassau and the Dutch army.	Velázquez's relationship with Spinola makes The Surrender of Breda especially historically accurate. The depiction of Spinola is undoubtedly accurate, and Spinola's memory of the battle contributed to the perspective with which Velázquez composed the painting. Velázquez “desired in his modest way to raise a monument to one of the most humane captains of the day, by giving permanence to his true figure in a manner of which he alone had the secret.”Nevertheless, Velázquez made one remarkable mistake: Probably following Spinola's description, he painted the dutch Prince's Flag , which is dipped on the painting behind Justinus van Nassau's head to salute the victorious Spaniards, as horizontal tricolour of blue, red and white . In fact, the colour scheme was orange, white, blue .

Prompt: ブレダの開城の歴史的正確性を説明してください。英語で出力して下さい。

Ambrogio Spinola
Breda
Justinus van Nassau
Netherlands
Prince's Flag
Spain


section

ブレダの開城

The painting illustrates the exchange of keys that occurred three days after the capitulation between Spain and the Netherlands was signed on June 5, 1625. Hence, the focus of the painting is not on the battle itself, but rather the reconciliation. At the center of the painting, literally and figuratively, is the key given to Ambrogio Spinola by Justin of Nassau. This battle painting is notable for its static and sentimental qualities, as Velázquez left out the blood and gore that would normally be linked to the violence of such battles.The extraordinary respect and dignity Spinola demonstrated towards the Dutch army is praised through The Surrender of Breda. Spinola “had forbidden his troops to jeer at, or otherwise abuse the vanquished Dutch, and, according to a contemporary report, he himself saluted Justin.” The painting demonstrates the glimpses of humanity that can be exposed as a result of the war and commends Spinola's consideration for Nassau and the Dutch army.	Velázquez's relationship with Spinola makes The Surrender of Breda especially historically accurate. The depiction of Spinola is undoubtedly accurate, and Spinola's memory of the battle contributed to the perspective with which Velázquez composed the painting. Velázquez “desired in his modest way to raise a monument to one of the most humane captains of the day, by giving permanence to his true figure in a manner of which he alone had the secret.”Nevertheless, Velázquez made one remarkable mistake: Probably following Spinola's description, he painted the dutch Prince's Flag , which is dipped on the painting behind Justinus van Nassau's head to salute the victorious Spaniards, as horizontal tricolour of blue, red and white . In fact, the colour scheme was orange, white, blue .

Prompt: ブレダの開城はどのように歴史的正確性を説明していますか？英語で出力して下さい。

Ambrogio Spinola
Breda
Justinus van Nassau
Netherlands
Prince's Flag
Spain


section

ブレダの開城

The painting illustrates the exchange of keys that occurred three days after the capitulation between Spain and the Netherlands was signed on June 5, 1625. Hence, the focus of the painting is not on the battle itself, but rather the reconciliation. At the center of the painting, literally and figuratively, is the key given to Ambrogio Spinola by Justin of Nassau. This battle painting is notable for its static and sentimental qualities, as Velázquez left out the blood and gore that would normally be linked to the violence of such battles.The extraordinary respect and dignity Spinola demonstrated towards the Dutch army is praised through The Surrender of Breda. Spinola “had forbidden his troops to jeer at, or otherwise abuse the vanquished Dutch, and, according to a contemporary report, he himself saluted Justin.” The painting demonstrates the glimpses of humanity that can be exposed as a result of the war and commends Spinola's consideration for Nassau and the Dutch army.	Velázquez's relationship with Spinola makes The Surrender of Breda especially historically accurate. The depiction of Spinola is undoubtedly accurate, and Spinola's memory of the battle contributed to the perspective with which Velázquez composed the painting. Velázquez “desired in his modest way to raise a monument to one of the most humane captains of the day, by giving permanence to his true figure in a manner of which he alone had the secret.”Nevertheless, Velázquez made one remarkable mistake: Probably following Spinola's description, he painted the dutch Prince's Flag , which is dipped on the painting behind Justinus van Nassau's head to salute the victorious Spaniards, as horizontal tricolour of blue, red and white . In fact, the colour scheme was orange, white, blue .

Prompt: ブレダの開城に関して、どのように歴史的正確性が議論されていますか？英語で出力して下さい。

Ambrogio Spinola
Breda
Justinus van Nassau
Netherlands
Prince's Flag
Spain


section

ブレダの開城

The motion picture Alatriste, a 2006 Spanish epic historical fiction war film directed by Agustín Díaz Yanes, contains a scene showing the surrender of Breda as the basis for the painting.

Prompt: ブレダの開城に焦点を当てて、その大衆文化でを説明してください。英語で出力して下さい。


section

ブレダの開城

The motion picture Alatriste, a 2006 Spanish epic historical fiction war film directed by Agustín Díaz Yanes, contains a scene showing the surrender of Breda as the basis for the painting.

Prompt: ブレダの開城の大衆文化でを説明してください。英語で出力して下さい。


section

ブレダの開城

The motion picture Alatriste, a 2006 Spanish epic historical fiction war film directed by Agustín Díaz Yanes, contains a scene showing the surrender of Breda as the basis for the painting.

Prompt: ブレダの開城はどのように大衆文化でを説明していますか？英語で出力して下さい。


section

ブレダの開城

The motion picture Alatriste, a 2006 Spanish epic historical fiction war film directed by Agustín Díaz Yanes, contains a scene showing the surrender of Breda as the basis for the painting.

Prompt: ブレダの開城に関して、どのように大衆文化でが議論されていますか？英語で出力して下さい。


section

ブレダの開城

Prompt: ブレダの開城に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

ブレダの開城

Prompt: ブレダの開城の参照を説明してください。英語で出力して下さい。

Diego Velázquez
List of works by Diego Velázquez


section

ブレダの開城

Prompt: ブレダの開城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。

Diego Velázquez
List of works by Diego Velázquez


section

ブレダの開城

Prompt: ブレダの開城に関して、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。

Diego Velázquez
List of works by Diego Velázquez


section

ブレダの開城

Justi, Carl. Diego Velázquez and his Times. London: H. Grevel & Co., 1889. López-Rey, José. Velázquez’ Work and World. Greenwich, CT: New York Graphic Society, 1968. Morris, James. Spain. London: Faber & Faber, 1964. Museo Nacional del Prado,  Ortega y Gasset, José. Velazquez. New York: Random House, 1953. . White, John Manchip. Diego Velazquez: Painter and Courtier. Chicago: Rand McNally & Company, 1969.

Prompt: ブレダの開城に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

ブレダの開城

Justi, Carl. Diego Velázquez and his Times. London: H. Grevel & Co., 1889. López-Rey, José. Velázquez’ Work and World. Greenwich, CT: New York Graphic Society, 1968. Morris, James. Spain. London: Faber & Faber, 1964. Museo Nacional del Prado,  Ortega y Gasset, José. Velazquez. New York: Random House, 1953. . White, John Manchip. Diego Velazquez: Painter and Courtier. Chicago: Rand McNally & Company, 1969.

Prompt: ブレダの開城の情報源を説明してください。英語で出力して下さい。


section

ブレダの開城

Justi, Carl. Diego Velázquez and his Times. London: H. Grevel & Co., 1889. López-Rey, José. Velázquez’ Work and World. Greenwich, CT: New York Graphic Society, 1968. Morris, James. Spain. London: Faber & Faber, 1964. Museo Nacional del Prado,  Ortega y Gasset, José. Velazquez. New York: Random House, 1953. . White, John Manchip. Diego Velazquez: Painter and Courtier. Chicago: Rand McNally & Company, 1969.

Prompt: ブレダの開城はどのように情報源を説明していますか？英語で出力して下さい。


section

ブレダの開城

Justi, Carl. Diego Velázquez and his Times. London: H. Grevel & Co., 1889. López-Rey, José. Velázquez’ Work and World. Greenwich, CT: New York Graphic Society, 1968. Morris, James. Spain. London: Faber & Faber, 1964. Museo Nacional del Prado,  Ortega y Gasset, José. Velazquez. New York: Random House, 1953. . White, John Manchip. Diego Velazquez: Painter and Courtier. Chicago: Rand McNally & Company, 1969.

Prompt: ブレダの開城に関して、どのように情報源が議論されていますか？英語で出力して下さい。


subsection

ブレダの開城

Velázquez addresses the details of many individuals by painting the setting across two halves, where the battle takes place in the background. The surrender portion of the scene takes place in the foreground, with the leading individuals placed clearly in the center. The focus of the composition is in the foreground, where the exchange of the keys is shown in the very front, while in the background, the smoky sky shows evidence of destruction and death.The painting depicts many Spanish soldiers in comparison to the fewer number of Dutch soldiers, and the Dutch weapons appear to have been either destroyed, thrown away, or even surrendered as a result of their performance of the battle. In contrast, the victorious Spaniards stand before a mass of upright lances on the right side of the composition. José Ortega y Gasset described these lances as "the backbone of the entire picture and largely responsible for the impression of calm permeating this essentially lively scene." Velázquez used effective perception and aerial techniques that support The Surrender of Breda as one of his finest works.

Prompt: ブレダの開城の文脈で、作曲と背景を説明してください。英語で出力して下さい。


subsection

ブレダの開城

Velázquez addresses the details of many individuals by painting the setting across two halves, where the battle takes place in the background. The surrender portion of the scene takes place in the foreground, with the leading individuals placed clearly in the center. The focus of the composition is in the foreground, where the exchange of the keys is shown in the very front, while in the background, the smoky sky shows evidence of destruction and death.The painting depicts many Spanish soldiers in comparison to the fewer number of Dutch soldiers, and the Dutch weapons appear to have been either destroyed, thrown away, or even surrendered as a result of their performance of the battle. In contrast, the victorious Spaniards stand before a mass of upright lances on the right side of the composition. José Ortega y Gasset described these lances as "the backbone of the entire picture and largely responsible for the impression of calm permeating this essentially lively scene." Velázquez used effective perception and aerial techniques that support The Surrender of Breda as one of his finest works.

Prompt: ブレダの開城の背景に関する作曲を説明してください。英語で出力して下さい。


subsection

ブレダの開城

Velázquez addresses the details of many individuals by painting the setting across two halves, where the battle takes place in the background. The surrender portion of the scene takes place in the foreground, with the leading individuals placed clearly in the center. The focus of the composition is in the foreground, where the exchange of the keys is shown in the very front, while in the background, the smoky sky shows evidence of destruction and death.The painting depicts many Spanish soldiers in comparison to the fewer number of Dutch soldiers, and the Dutch weapons appear to have been either destroyed, thrown away, or even surrendered as a result of their performance of the battle. In contrast, the victorious Spaniards stand before a mass of upright lances on the right side of the composition. José Ortega y Gasset described these lances as "the backbone of the entire picture and largely responsible for the impression of calm permeating this essentially lively scene." Velázquez used effective perception and aerial techniques that support The Surrender of Breda as one of his finest works.

Prompt: ブレダの開城では、どのように背景の作曲が説明されていますか？英語で出力して下さい。


subsection

ブレダの開城

Velázquez addresses the details of many individuals by painting the setting across two halves, where the battle takes place in the background. The surrender portion of the scene takes place in the foreground, with the leading individuals placed clearly in the center. The focus of the composition is in the foreground, where the exchange of the keys is shown in the very front, while in the background, the smoky sky shows evidence of destruction and death.The painting depicts many Spanish soldiers in comparison to the fewer number of Dutch soldiers, and the Dutch weapons appear to have been either destroyed, thrown away, or even surrendered as a result of their performance of the battle. In contrast, the victorious Spaniards stand before a mass of upright lances on the right side of the composition. José Ortega y Gasset described these lances as "the backbone of the entire picture and largely responsible for the impression of calm permeating this essentially lively scene." Velázquez used effective perception and aerial techniques that support The Surrender of Breda as one of his finest works.

Prompt: ブレダの開城の背景における作曲の特徴を説明してください。英語で出力して下さい。


subsection

ブレダの開城

The painting's relatively light tonality and bright colors reveal the influence of Venetian painting. There is no use of violent reds or bright blues; rather calm brown colors with dark shadows in the foreground are used. Also, there is believed to be a connection between Velázquez's use of color, as he had taken a trip to Italy to study Renaissance art. In addition to the color techniques he became equipped to, Velázquez also gained improved skills with space, perspective and light.

Prompt: ブレダの開城の文脈で、色と背景を説明してください。英語で出力して下さい。


subsection

ブレダの開城

The painting's relatively light tonality and bright colors reveal the influence of Venetian painting. There is no use of violent reds or bright blues; rather calm brown colors with dark shadows in the foreground are used. Also, there is believed to be a connection between Velázquez's use of color, as he had taken a trip to Italy to study Renaissance art. In addition to the color techniques he became equipped to, Velázquez also gained improved skills with space, perspective and light.

Prompt: ブレダの開城の背景に関する色を説明してください。英語で出力して下さい。


subsection

ブレダの開城

The painting's relatively light tonality and bright colors reveal the influence of Venetian painting. There is no use of violent reds or bright blues; rather calm brown colors with dark shadows in the foreground are used. Also, there is believed to be a connection between Velázquez's use of color, as he had taken a trip to Italy to study Renaissance art. In addition to the color techniques he became equipped to, Velázquez also gained improved skills with space, perspective and light.

Prompt: ブレダの開城では、どのように背景の色が説明されていますか？英語で出力して下さい。


subsection

ブレダの開城

The painting's relatively light tonality and bright colors reveal the influence of Venetian painting. There is no use of violent reds or bright blues; rather calm brown colors with dark shadows in the foreground are used. Also, there is believed to be a connection between Velázquez's use of color, as he had taken a trip to Italy to study Renaissance art. In addition to the color techniques he became equipped to, Velázquez also gained improved skills with space, perspective and light.

Prompt: ブレダの開城の背景における色の特徴を説明してください。英語で出力して下さい。


subsection

ブレダの開城

At the center of the composition, Justinus van Nassau is seen surrendering and handing over the key of the city to Spinola and Spain. Spinola, the Genoese general, commanded the Spanish tercios which included pikemen, swordsmen, and musketeers as displayed in the painting.

Prompt: ブレダの開城の文脈で、主題と背景を説明してください。英語で出力して下さい。


subsection

ブレダの開城

At the center of the composition, Justinus van Nassau is seen surrendering and handing over the key of the city to Spinola and Spain. Spinola, the Genoese general, commanded the Spanish tercios which included pikemen, swordsmen, and musketeers as displayed in the painting.

Prompt: ブレダの開城の背景に関する主題を説明してください。英語で出力して下さい。


subsection

ブレダの開城

At the center of the composition, Justinus van Nassau is seen surrendering and handing over the key of the city to Spinola and Spain. Spinola, the Genoese general, commanded the Spanish tercios which included pikemen, swordsmen, and musketeers as displayed in the painting.

Prompt: ブレダの開城では、どのように背景の主題が説明されていますか？英語で出力して下さい。


subsection

ブレダの開城

At the center of the composition, Justinus van Nassau is seen surrendering and handing over the key of the city to Spinola and Spain. Spinola, the Genoese general, commanded the Spanish tercios which included pikemen, swordsmen, and musketeers as displayed in the painting.

Prompt: ブレダの開城の背景における主題の特徴を説明してください。英語で出力して下さい。


subsection

ブレダの開城

An in-depth analysis and investigation was conducted to examine the painting around 1989 in Museo Prado. The analysis found that Velázquez used many of the same pigments that he had used in other paintings. These pigments included lead white with calcite, azurite mixed with small amounts of charcoal black, ochres and vermilion. The painted was produced on canvas that is sized

Prompt: ブレダの開城の文脈で、絵画材料と背景を説明してください。英語で出力して下さい。


subsection

ブレダの開城

An in-depth analysis and investigation was conducted to examine the painting around 1989 in Museo Prado. The analysis found that Velázquez used many of the same pigments that he had used in other paintings. These pigments included lead white with calcite, azurite mixed with small amounts of charcoal black, ochres and vermilion. The painted was produced on canvas that is sized

Prompt: ブレダの開城の背景に関する絵画材料を説明してください。英語で出力して下さい。


subsection

ブレダの開城

An in-depth analysis and investigation was conducted to examine the painting around 1989 in Museo Prado. The analysis found that Velázquez used many of the same pigments that he had used in other paintings. These pigments included lead white with calcite, azurite mixed with small amounts of charcoal black, ochres and vermilion. The painted was produced on canvas that is sized

Prompt: ブレダの開城では、どのように背景の絵画材料が説明されていますか？英語で出力して下さい。


subsection

ブレダの開城

An in-depth analysis and investigation was conducted to examine the painting around 1989 in Museo Prado. The analysis found that Velázquez used many of the same pigments that he had used in other paintings. These pigments included lead white with calcite, azurite mixed with small amounts of charcoal black, ochres and vermilion. The painted was produced on canvas that is sized

Prompt: ブレダの開城の背景における絵画材料の特徴を説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia is a painting attributed to the Italian Renaissance artist Sandro Botticelli, dating to c. 1467.  A tempera on panel work, it is located in the loggia of the Uffizi, Florence, Italy.This is one of the earliest works of Botticelli where he painted a portrait of the Virgin Mary with Jesus Christ as a child, sitting in a loggia. Madonna is wearing dark blue cloak with bright red dress underneath it. Blue in Madonna's clothes represents her purity and her red dress is a symbol of love. She has a head covering and a slightly visible, translucent halo. Baby Jesus is painted in a light pink robe, also with a big bright halo above his head. The loggia where Madonna and a Child are seated is depicted in brown and cream colors. On the background there is a green landscape with a road supposedly leading to the town. The painting is 70 x 147 cm in size. It was given to the Uffizi in 1784 by the Chamber of Commerce and Arts.

Prompt: ロッジアの聖母 (ボッティチェッリ)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
Jesus
Loggia
Sandro Botticelli
Uffizi


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia is a painting attributed to the Italian Renaissance artist Sandro Botticelli, dating to c. 1467.  A tempera on panel work, it is located in the loggia of the Uffizi, Florence, Italy.This is one of the earliest works of Botticelli where he painted a portrait of the Virgin Mary with Jesus Christ as a child, sitting in a loggia. Madonna is wearing dark blue cloak with bright red dress underneath it. Blue in Madonna's clothes represents her purity and her red dress is a symbol of love. She has a head covering and a slightly visible, translucent halo. Baby Jesus is painted in a light pink robe, also with a big bright halo above his head. The loggia where Madonna and a Child are seated is depicted in brown and cream colors. On the background there is a green landscape with a road supposedly leading to the town. The painting is 70 x 147 cm in size. It was given to the Uffizi in 1784 by the Chamber of Commerce and Arts.

Prompt: ロッジアの聖母 (ボッティチェッリ)の抽象を説明してください。英語で出力して下さい。

Florence
Jesus
Loggia
Sandro Botticelli
Uffizi


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia is a painting attributed to the Italian Renaissance artist Sandro Botticelli, dating to c. 1467.  A tempera on panel work, it is located in the loggia of the Uffizi, Florence, Italy.This is one of the earliest works of Botticelli where he painted a portrait of the Virgin Mary with Jesus Christ as a child, sitting in a loggia. Madonna is wearing dark blue cloak with bright red dress underneath it. Blue in Madonna's clothes represents her purity and her red dress is a symbol of love. She has a head covering and a slightly visible, translucent halo. Baby Jesus is painted in a light pink robe, also with a big bright halo above his head. The loggia where Madonna and a Child are seated is depicted in brown and cream colors. On the background there is a green landscape with a road supposedly leading to the town. The painting is 70 x 147 cm in size. It was given to the Uffizi in 1784 by the Chamber of Commerce and Arts.

Prompt: ロッジアの聖母 (ボッティチェッリ)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
Jesus
Loggia
Sandro Botticelli
Uffizi


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia is a painting attributed to the Italian Renaissance artist Sandro Botticelli, dating to c. 1467.  A tempera on panel work, it is located in the loggia of the Uffizi, Florence, Italy.This is one of the earliest works of Botticelli where he painted a portrait of the Virgin Mary with Jesus Christ as a child, sitting in a loggia. Madonna is wearing dark blue cloak with bright red dress underneath it. Blue in Madonna's clothes represents her purity and her red dress is a symbol of love. She has a head covering and a slightly visible, translucent halo. Baby Jesus is painted in a light pink robe, also with a big bright halo above his head. The loggia where Madonna and a Child are seated is depicted in brown and cream colors. On the background there is a green landscape with a road supposedly leading to the town. The painting is 70 x 147 cm in size. It was given to the Uffizi in 1784 by the Chamber of Commerce and Arts.

Prompt: ロッジアの聖母 (ボッティチェッリ)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
Jesus
Loggia
Sandro Botticelli
Uffizi


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia is one of the earliest works of Botticelli. This painting's style was influenced by Sandro's master, Filippo Lippi, one of the greatest Renaissance artists. Shortly after Botticelli left his master's studio, he moved to work under Andrea Verrocchio in the late 1460s, when he completed painting of Madonna della Loggia. There is an opinion that this artwork was inspired by Lippi's Madonna with Child, which was created around 1460 in Florence for Palazzo Medici Riccardi. However, Madonna della Loggia can also be viewed as a typical artwork influenced by a religious theme, depicting Virgin Mary holding Jesus in her hands. During the Renaissance, artists often dedicated their paintings and sculptures to Christianity, mainly the image of Jesus Christ. Italian artists used one of the most popular iconographic representation of the Virgin and the Christ, Glykophilousa, translated as "Sweet Kissing". It is the pose in which Mary appears to be "kissing" Jesus, accepting affection from her son. Madonna della Loggia is one of many examples of Glykophilousa in Renaissance images of the Madonna and Child. left

Prompt: ロッジアの聖母 (ボッティチェッリ)に焦点を当てて、そのマドンナの歴史を説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia is one of the earliest works of Botticelli. This painting's style was influenced by Sandro's master, Filippo Lippi, one of the greatest Renaissance artists. Shortly after Botticelli left his master's studio, he moved to work under Andrea Verrocchio in the late 1460s, when he completed painting of Madonna della Loggia. There is an opinion that this artwork was inspired by Lippi's Madonna with Child, which was created around 1460 in Florence for Palazzo Medici Riccardi. However, Madonna della Loggia can also be viewed as a typical artwork influenced by a religious theme, depicting Virgin Mary holding Jesus in her hands. During the Renaissance, artists often dedicated their paintings and sculptures to Christianity, mainly the image of Jesus Christ. Italian artists used one of the most popular iconographic representation of the Virgin and the Christ, Glykophilousa, translated as "Sweet Kissing". It is the pose in which Mary appears to be "kissing" Jesus, accepting affection from her son. Madonna della Loggia is one of many examples of Glykophilousa in Renaissance images of the Madonna and Child. left

Prompt: ロッジアの聖母 (ボッティチェッリ)のマドンナの歴史を説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia is one of the earliest works of Botticelli. This painting's style was influenced by Sandro's master, Filippo Lippi, one of the greatest Renaissance artists. Shortly after Botticelli left his master's studio, he moved to work under Andrea Verrocchio in the late 1460s, when he completed painting of Madonna della Loggia. There is an opinion that this artwork was inspired by Lippi's Madonna with Child, which was created around 1460 in Florence for Palazzo Medici Riccardi. However, Madonna della Loggia can also be viewed as a typical artwork influenced by a religious theme, depicting Virgin Mary holding Jesus in her hands. During the Renaissance, artists often dedicated their paintings and sculptures to Christianity, mainly the image of Jesus Christ. Italian artists used one of the most popular iconographic representation of the Virgin and the Christ, Glykophilousa, translated as "Sweet Kissing". It is the pose in which Mary appears to be "kissing" Jesus, accepting affection from her son. Madonna della Loggia is one of many examples of Glykophilousa in Renaissance images of the Madonna and Child. left

Prompt: ロッジアの聖母 (ボッティチェッリ)はどのようにマドンナの歴史を説明していますか？英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia is one of the earliest works of Botticelli. This painting's style was influenced by Sandro's master, Filippo Lippi, one of the greatest Renaissance artists. Shortly after Botticelli left his master's studio, he moved to work under Andrea Verrocchio in the late 1460s, when he completed painting of Madonna della Loggia. There is an opinion that this artwork was inspired by Lippi's Madonna with Child, which was created around 1460 in Florence for Palazzo Medici Riccardi. However, Madonna della Loggia can also be viewed as a typical artwork influenced by a religious theme, depicting Virgin Mary holding Jesus in her hands. During the Renaissance, artists often dedicated their paintings and sculptures to Christianity, mainly the image of Jesus Christ. Italian artists used one of the most popular iconographic representation of the Virgin and the Christ, Glykophilousa, translated as "Sweet Kissing". It is the pose in which Mary appears to be "kissing" Jesus, accepting affection from her son. Madonna della Loggia is one of many examples of Glykophilousa in Renaissance images of the Madonna and Child. left

Prompt: ロッジアの聖母 (ボッティチェッリ)に関して、どのようにマドンナの歴史が議論されていますか？英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

Beginning from the mid 1460s, Botticelli worked on several paintings that have the same context as the Madonna della Loggia. He painted four works of Virgin Mary with a child and he continued to paint Madonnas in a similar manner throughout next decade. What is common for almost all his paintings is depiction of Madonna in a loggia, a so-called European porch, an outdoor area that was a part of the building. One of the most famous paintings that is known everywhere is Leonardo Da Vinci's Mona Lisa that was originally painted sitting in a loggia before parts of the paintings were cut off. However, it is still visible on the left bottom part of the painting. In Botticelli's artwork loggia is distinct and stands out on the background of the painting. It is noticeable that Botticelli paints different styles of loggias in his paintings. Madonna and Child of 1470 has closely the same loggia as Madonna della Loggia, and it does not only have a similar loggia, but the image of Mother and the Christ.

Prompt: ロッジアの聖母 (ボッティチェッリ)に焦点を当てて、そのボッティチェリとマドンナを説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

Beginning from the mid 1460s, Botticelli worked on several paintings that have the same context as the Madonna della Loggia. He painted four works of Virgin Mary with a child and he continued to paint Madonnas in a similar manner throughout next decade. What is common for almost all his paintings is depiction of Madonna in a loggia, a so-called European porch, an outdoor area that was a part of the building. One of the most famous paintings that is known everywhere is Leonardo Da Vinci's Mona Lisa that was originally painted sitting in a loggia before parts of the paintings were cut off. However, it is still visible on the left bottom part of the painting. In Botticelli's artwork loggia is distinct and stands out on the background of the painting. It is noticeable that Botticelli paints different styles of loggias in his paintings. Madonna and Child of 1470 has closely the same loggia as Madonna della Loggia, and it does not only have a similar loggia, but the image of Mother and the Christ.

Prompt: ロッジアの聖母 (ボッティチェッリ)のボッティチェリとマドンナを説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

Beginning from the mid 1460s, Botticelli worked on several paintings that have the same context as the Madonna della Loggia. He painted four works of Virgin Mary with a child and he continued to paint Madonnas in a similar manner throughout next decade. What is common for almost all his paintings is depiction of Madonna in a loggia, a so-called European porch, an outdoor area that was a part of the building. One of the most famous paintings that is known everywhere is Leonardo Da Vinci's Mona Lisa that was originally painted sitting in a loggia before parts of the paintings were cut off. However, it is still visible on the left bottom part of the painting. In Botticelli's artwork loggia is distinct and stands out on the background of the painting. It is noticeable that Botticelli paints different styles of loggias in his paintings. Madonna and Child of 1470 has closely the same loggia as Madonna della Loggia, and it does not only have a similar loggia, but the image of Mother and the Christ.

Prompt: ロッジアの聖母 (ボッティチェッリ)はどのようにボッティチェリとマドンナを説明していますか？英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

Beginning from the mid 1460s, Botticelli worked on several paintings that have the same context as the Madonna della Loggia. He painted four works of Virgin Mary with a child and he continued to paint Madonnas in a similar manner throughout next decade. What is common for almost all his paintings is depiction of Madonna in a loggia, a so-called European porch, an outdoor area that was a part of the building. One of the most famous paintings that is known everywhere is Leonardo Da Vinci's Mona Lisa that was originally painted sitting in a loggia before parts of the paintings were cut off. However, it is still visible on the left bottom part of the painting. In Botticelli's artwork loggia is distinct and stands out on the background of the painting. It is noticeable that Botticelli paints different styles of loggias in his paintings. Madonna and Child of 1470 has closely the same loggia as Madonna della Loggia, and it does not only have a similar loggia, but the image of Mother and the Christ.

Prompt: ロッジアの聖母 (ボッティチェッリ)に関して、どのようにボッティチェリとマドンナが議論されていますか？英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia was not preserved in its best condition. Even its authenticity as Botticelli's work was doubted because of the poor condition of the painting. His signature was found after conservation treatment in 2004, which also revealed other details of the painting that were missing. Apparently, the painting might have been set in a tabernacle frame, usually religious devoted massive frames, that emerged in Italy in 15th century. The Madonna della Loggia was supposedly made for "private religious devotion," so-called "colmi da camera".

Prompt: ロッジアの聖母 (ボッティチェッリ)に焦点を当てて、その絵画修復を説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia was not preserved in its best condition. Even its authenticity as Botticelli's work was doubted because of the poor condition of the painting. His signature was found after conservation treatment in 2004, which also revealed other details of the painting that were missing. Apparently, the painting might have been set in a tabernacle frame, usually religious devoted massive frames, that emerged in Italy in 15th century. The Madonna della Loggia was supposedly made for "private religious devotion," so-called "colmi da camera".

Prompt: ロッジアの聖母 (ボッティチェッリ)の絵画修復を説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia was not preserved in its best condition. Even its authenticity as Botticelli's work was doubted because of the poor condition of the painting. His signature was found after conservation treatment in 2004, which also revealed other details of the painting that were missing. Apparently, the painting might have been set in a tabernacle frame, usually religious devoted massive frames, that emerged in Italy in 15th century. The Madonna della Loggia was supposedly made for "private religious devotion," so-called "colmi da camera".

Prompt: ロッジアの聖母 (ボッティチェッリ)はどのように絵画修復を説明していますか？英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia was not preserved in its best condition. Even its authenticity as Botticelli's work was doubted because of the poor condition of the painting. His signature was found after conservation treatment in 2004, which also revealed other details of the painting that were missing. Apparently, the painting might have been set in a tabernacle frame, usually religious devoted massive frames, that emerged in Italy in 15th century. The Madonna della Loggia was supposedly made for "private religious devotion," so-called "colmi da camera".

Prompt: ロッジアの聖母 (ボッティチェッリ)に関して、どのように絵画修復が議論されていますか？英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia arrived to Vladivostok, Russia for the V Eastern Economic Forum in September, 2019 and was placed for public observation in the University of Vladivostok. ter, the artwork travelled to the Primorye State Art Gallery and then, in November, migrated to St. Petersburg for the VIII International Forum of Culture in St. Petersburg, to Hermitage as a part of “Masterpieces of the World Museums at the Hermitage” series.

Prompt: ロッジアの聖母 (ボッティチェッリ)に焦点を当てて、そのロシアのマドンナを説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia arrived to Vladivostok, Russia for the V Eastern Economic Forum in September, 2019 and was placed for public observation in the University of Vladivostok. ter, the artwork travelled to the Primorye State Art Gallery and then, in November, migrated to St. Petersburg for the VIII International Forum of Culture in St. Petersburg, to Hermitage as a part of “Masterpieces of the World Museums at the Hermitage” series.

Prompt: ロッジアの聖母 (ボッティチェッリ)のロシアのマドンナを説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia arrived to Vladivostok, Russia for the V Eastern Economic Forum in September, 2019 and was placed for public observation in the University of Vladivostok. ter, the artwork travelled to the Primorye State Art Gallery and then, in November, migrated to St. Petersburg for the VIII International Forum of Culture in St. Petersburg, to Hermitage as a part of “Masterpieces of the World Museums at the Hermitage” series.

Prompt: ロッジアの聖母 (ボッティチェッリ)はどのようにロシアのマドンナを説明していますか？英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

The Madonna della Loggia arrived to Vladivostok, Russia for the V Eastern Economic Forum in September, 2019 and was placed for public observation in the University of Vladivostok. ter, the artwork travelled to the Primorye State Art Gallery and then, in November, migrated to St. Petersburg for the VIII International Forum of Culture in St. Petersburg, to Hermitage as a part of “Masterpieces of the World Museums at the Hermitage” series.

Prompt: ロッジアの聖母 (ボッティチェッリ)に関して、どのようにロシアのマドンナが議論されていますか？英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

Prompt: ロッジアの聖母 (ボッティチェッリ)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

ロッジアの聖母 (ボッティチェッリ)

Prompt: ロッジアの聖母 (ボッティチェッリ)の参照を説明してください。英語で出力して下さい。


section

ロッジアの聖母 (ボッティチェッリ)

Prompt: ロッジアの聖母 (ボッティチェッリ)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

ロッジアの聖母 (ボッティチェッリ)

Prompt: ロッジアの聖母 (ボッティチェッリ)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

カルロス4世の家族

Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801.The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewellery. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewellery and the sashes of the order of Charles III.The painting was modelled after Louis-Michel van Loo's 1743 Portrait of Felipe V and his Family and Velázquez's s Meninas, setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas.

Prompt: カルロス4世の家族に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Charles IV of Spain
Francisco Goya
Louis-Michel van Loo
Maria Luisa of Parma


section

カルロス4世の家族

Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801.The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewellery. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewellery and the sashes of the order of Charles III.The painting was modelled after Louis-Michel van Loo's 1743 Portrait of Felipe V and his Family and Velázquez's s Meninas, setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas.

Prompt: カルロス4世の家族の抽象を説明してください。英語で出力して下さい。

Charles IV of Spain
Francisco Goya
Louis-Michel van Loo
Maria Luisa of Parma


section

カルロス4世の家族

Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801.The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewellery. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewellery and the sashes of the order of Charles III.The painting was modelled after Louis-Michel van Loo's 1743 Portrait of Felipe V and his Family and Velázquez's s Meninas, setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas.

Prompt: カルロス4世の家族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。

Charles IV of Spain
Francisco Goya
Louis-Michel van Loo
Maria Luisa of Parma


section

カルロス4世の家族

Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801.The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewellery. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewellery and the sashes of the order of Charles III.The painting was modelled after Louis-Michel van Loo's 1743 Portrait of Felipe V and his Family and Velázquez's s Meninas, setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas.

Prompt: カルロス4世の家族に関して、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。

Charles IV of Spain
Francisco Goya
Louis-Michel van Loo
Maria Luisa of Parma


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カルロス4世の家族

The group portrait was completed the year after Goya first became court painter, the highest position available to a Spanish artist and one previously occupied by Diego Velázquez.Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808.The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking outwards towards the viewer.

Prompt: カルロス4世の家族に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Diego Velázquez
French Revolution
Joseph Bonaparte
Napoleon


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カルロス4世の家族

The group portrait was completed the year after Goya first became court painter, the highest position available to a Spanish artist and one previously occupied by Diego Velázquez.Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808.The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking outwards towards the viewer.

Prompt: カルロス4世の家族の説明を説明してください。英語で出力して下さい。

Diego Velázquez
French Revolution
Joseph Bonaparte
Napoleon


section

カルロス4世の家族

The group portrait was completed the year after Goya first became court painter, the highest position available to a Spanish artist and one previously occupied by Diego Velázquez.Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808.The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking outwards towards the viewer.

Prompt: カルロス4世の家族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。

Diego Velázquez
French Revolution
Joseph Bonaparte
Napoleon


section

カルロス4世の家族

The group portrait was completed the year after Goya first became court painter, the highest position available to a Spanish artist and one previously occupied by Diego Velázquez.Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808.The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking outwards towards the viewer.

Prompt: カルロス4世の家族に関して、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。

Diego Velázquez
French Revolution
Joseph Bonaparte
Napoleon


section

カルロス4世の家族

The barely visible man in the background shadows at the left is Goya himself . Others are, left to right:   Carlos Maria Isidro  – King's 2nd son  the future Fernando VII  – King's 1st son  Maria Josefa  – King's sister   Maria Antonia of Naples – by the time the work was created, she was yet to marry Fernando VII   María Isabel  – King's daughter  Maria Luisa of Parma  – King's wife  Francisco de Paula  – King's youngest son  Charles IV  – King   Don Antonio Pascual   – King's brother  Carlota Joaquina  –  King's eldest daughter  Don Luis de Parma  – King's son-in-law  their baby Carlos Luis , the future Duke of Parma  his wife Maria Luisa  – King's daughter, holding number 13

Prompt: カルロス4世の家族に焦点を当てて、そのシッターズを説明してください。英語で出力して下さい。


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カルロス4世の家族

The barely visible man in the background shadows at the left is Goya himself . Others are, left to right:   Carlos Maria Isidro  – King's 2nd son  the future Fernando VII  – King's 1st son  Maria Josefa  – King's sister   Maria Antonia of Naples – by the time the work was created, she was yet to marry Fernando VII   María Isabel  – King's daughter  Maria Luisa of Parma  – King's wife  Francisco de Paula  – King's youngest son  Charles IV  – King   Don Antonio Pascual   – King's brother  Carlota Joaquina  –  King's eldest daughter  Don Luis de Parma  – King's son-in-law  their baby Carlos Luis , the future Duke of Parma  his wife Maria Luisa  – King's daughter, holding number 13

Prompt: カルロス4世の家族のシッターズを説明してください。英語で出力して下さい。


section

カルロス4世の家族

The barely visible man in the background shadows at the left is Goya himself . Others are, left to right:   Carlos Maria Isidro  – King's 2nd son  the future Fernando VII  – King's 1st son  Maria Josefa  – King's sister   Maria Antonia of Naples – by the time the work was created, she was yet to marry Fernando VII   María Isabel  – King's daughter  Maria Luisa of Parma  – King's wife  Francisco de Paula  – King's youngest son  Charles IV  – King   Don Antonio Pascual   – King's brother  Carlota Joaquina  –  King's eldest daughter  Don Luis de Parma  – King's son-in-law  their baby Carlos Luis , the future Duke of Parma  his wife Maria Luisa  – King's daughter, holding number 13

Prompt: カルロス4世の家族はどのようにシッターズを説明していますか？英語で出力して下さい。


section

カルロス4世の家族

The barely visible man in the background shadows at the left is Goya himself . Others are, left to right:   Carlos Maria Isidro  – King's 2nd son  the future Fernando VII  – King's 1st son  Maria Josefa  – King's sister   Maria Antonia of Naples – by the time the work was created, she was yet to marry Fernando VII   María Isabel  – King's daughter  Maria Luisa of Parma  – King's wife  Francisco de Paula  – King's youngest son  Charles IV  – King   Don Antonio Pascual   – King's brother  Carlota Joaquina  –  King's eldest daughter  Don Luis de Parma  – King's son-in-law  their baby Carlos Luis , the future Duke of Parma  his wife Maria Luisa  – King's daughter, holding number 13

Prompt: カルロス4世の家族に関して、どのようにシッターズが議論されていますか？英語で出力して下さい。


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カルロス4世の家族

The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects.  The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left, in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."Prominent in Goya's portrait are the domestic intimacy of the royal family and the central role of the queen as a matriarch. She exudes fecundity as she is flanked by her family. Far from a cruel satire, Goya's depiction of the royal family is actually idealized and disregards what the forty-eight-year-old Queen Maria Luisa actually looked like. A Russian ambassador described her eleven years prior to this painting: "Repeated births, illnesses, and perhaps a touch of hereditary illness had taken their toll--the yellow pallor of her skin and the loss of her teeth dealt a final blow to her beauty." Granted, the queen's inane smile , her sagging, pallid skin contrasted with sumptuous gown and jewels, and her overall appearance of doddering senescence, provide satirical fodder. But this subjective valuation is not only contrary to Goya's public presentation of his skills as an artist but to the artist's own apparent estimation of his consistent royal patron.John J. Ciofalo writes that while "Velázquez sought to bridge the gap between art and the reality of the natural world, Goya sought to bridge the gap between art and the reality of his own mind," a byproduct of the Romantic era. One only has to look at the paintings in s Meninas that have been identified as real. The paintings in Goya's The Family of Carlos IV have never been identified. One could assume they are indeed products of Goya's mind, of his imagination.

Prompt: カルロス4世の家族に焦点を当てて、その解釈を説明してください。英語で出力して下さい。


section

カルロス4世の家族

The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects.  The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left, in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."Prominent in Goya's portrait are the domestic intimacy of the royal family and the central role of the queen as a matriarch. She exudes fecundity as she is flanked by her family. Far from a cruel satire, Goya's depiction of the royal family is actually idealized and disregards what the forty-eight-year-old Queen Maria Luisa actually looked like. A Russian ambassador described her eleven years prior to this painting: "Repeated births, illnesses, and perhaps a touch of hereditary illness had taken their toll--the yellow pallor of her skin and the loss of her teeth dealt a final blow to her beauty." Granted, the queen's inane smile , her sagging, pallid skin contrasted with sumptuous gown and jewels, and her overall appearance of doddering senescence, provide satirical fodder. But this subjective valuation is not only contrary to Goya's public presentation of his skills as an artist but to the artist's own apparent estimation of his consistent royal patron.John J. Ciofalo writes that while "Velázquez sought to bridge the gap between art and the reality of the natural world, Goya sought to bridge the gap between art and the reality of his own mind," a byproduct of the Romantic era. One only has to look at the paintings in s Meninas that have been identified as real. The paintings in Goya's The Family of Carlos IV have never been identified. One could assume they are indeed products of Goya's mind, of his imagination.

Prompt: カルロス4世の家族の解釈を説明してください。英語で出力して下さい。


section

カルロス4世の家族

The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects.  The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left, in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."Prominent in Goya's portrait are the domestic intimacy of the royal family and the central role of the queen as a matriarch. She exudes fecundity as she is flanked by her family. Far from a cruel satire, Goya's depiction of the royal family is actually idealized and disregards what the forty-eight-year-old Queen Maria Luisa actually looked like. A Russian ambassador described her eleven years prior to this painting: "Repeated births, illnesses, and perhaps a touch of hereditary illness had taken their toll--the yellow pallor of her skin and the loss of her teeth dealt a final blow to her beauty." Granted, the queen's inane smile , her sagging, pallid skin contrasted with sumptuous gown and jewels, and her overall appearance of doddering senescence, provide satirical fodder. But this subjective valuation is not only contrary to Goya's public presentation of his skills as an artist but to the artist's own apparent estimation of his consistent royal patron.John J. Ciofalo writes that while "Velázquez sought to bridge the gap between art and the reality of the natural world, Goya sought to bridge the gap between art and the reality of his own mind," a byproduct of the Romantic era. One only has to look at the paintings in s Meninas that have been identified as real. The paintings in Goya's The Family of Carlos IV have never been identified. One could assume they are indeed products of Goya's mind, of his imagination.

Prompt: カルロス4世の家族はどのように解釈を説明していますか？英語で出力して下さい。


section

カルロス4世の家族

The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects.  The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left, in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."Prominent in Goya's portrait are the domestic intimacy of the royal family and the central role of the queen as a matriarch. She exudes fecundity as she is flanked by her family. Far from a cruel satire, Goya's depiction of the royal family is actually idealized and disregards what the forty-eight-year-old Queen Maria Luisa actually looked like. A Russian ambassador described her eleven years prior to this painting: "Repeated births, illnesses, and perhaps a touch of hereditary illness had taken their toll--the yellow pallor of her skin and the loss of her teeth dealt a final blow to her beauty." Granted, the queen's inane smile , her sagging, pallid skin contrasted with sumptuous gown and jewels, and her overall appearance of doddering senescence, provide satirical fodder. But this subjective valuation is not only contrary to Goya's public presentation of his skills as an artist but to the artist's own apparent estimation of his consistent royal patron.John J. Ciofalo writes that while "Velázquez sought to bridge the gap between art and the reality of the natural world, Goya sought to bridge the gap between art and the reality of his own mind," a byproduct of the Romantic era. One only has to look at the paintings in s Meninas that have been identified as real. The paintings in Goya's The Family of Carlos IV have never been identified. One could assume they are indeed products of Goya's mind, of his imagination.

Prompt: カルロス4世の家族に関して、どのように解釈が議論されていますか？英語で出力して下さい。


section

カルロス4世の家族

Prompt: カルロス4世の家族に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Francisco Goya
List of works by Francisco Goya


section

カルロス4世の家族

Prompt: カルロス4世の家族の参照を説明してください。英語で出力して下さい。

Francisco Goya
List of works by Francisco Goya


section

カルロス4世の家族

Prompt: カルロス4世の家族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。

Francisco Goya
List of works by Francisco Goya


section

カルロス4世の家族

Prompt: カルロス4世の家族に関して、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。

Francisco Goya
List of works by Francisco Goya


section

カルロス4世の家族

Buchholz, Elke Linda. Francisco de Goya. Cologne: Könemann, 1999.  Davies, Denny, Hofrichter, Jacobs, Roberts, Simon. Janson's History of Art. Prentice Hall, London, 2011. 824–825.  Gassier, Pierre. Goya. Rizzoli International Publications, 1989.  Gassier, Pierre. Goya: Biographical and Critical Study. New York: Skira, 1995. 69–73 Tomlinson, Janis. From El Greco to Goya: Painting in Spain from 1561-1828. urence King, 2012.

Prompt: カルロス4世の家族に焦点を当てて、その情報源を説明してください。英語で出力して下さい。