section

アテナイの学堂

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: " Pindare,  Démétrios de Phalère,  x ,  Orphée  aux oiseaux,  Hésiode,  Homère,  x ,  Protagoras,  Thalès,  Héraclite,  Platon,  Aristote ." However, there have been other suggestions . Plato and Thales are commonly identified as central figures.

Prompt: アテナイの学堂に焦点を当てて、その前駆体を説明してください。英語で出力して下さい。

Pindar
Plato
Plato's Academy mosaic
Protagoras
Saqqara
Serapeum of Alexandria


section

アテナイの学堂

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: " Pindare,  Démétrios de Phalère,  x ,  Orphée  aux oiseaux,  Hésiode,  Homère,  x ,  Protagoras,  Thalès,  Héraclite,  Platon,  Aristote ." However, there have been other suggestions . Plato and Thales are commonly identified as central figures.

Prompt: アテナイの学堂の前駆体を説明してください。英語で出力して下さい。

Pindar
Plato
Plato's Academy mosaic
Protagoras
Saqqara
Serapeum of Alexandria


section

アテナイの学堂

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: " Pindare,  Démétrios de Phalère,  x ,  Orphée  aux oiseaux,  Hésiode,  Homère,  x ,  Protagoras,  Thalès,  Héraclite,  Platon,  Aristote ." However, there have been other suggestions . Plato and Thales are commonly identified as central figures.

Prompt: アテナイの学堂はどのように前駆体を説明していますか？英語で出力して下さい。

Pindar
Plato
Plato's Academy mosaic
Protagoras
Saqqara
Serapeum of Alexandria


section

アテナイの学堂

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: " Pindare,  Démétrios de Phalère,  x ,  Orphée  aux oiseaux,  Hésiode,  Homère,  x ,  Protagoras,  Thalès,  Héraclite,  Platon,  Aristote ." However, there have been other suggestions . Plato and Thales are commonly identified as central figures.

Prompt: アテナイの学堂に関して、どのように前駆体が議論されていますか？英語で出力して下さい。

Pindar
Plato
Plato's Academy mosaic
Protagoras
Saqqara
Serapeum of Alexandria


section

アテナイの学堂

List of paintings by RaphaelThe st Supper by Leonardo da Vinci

Prompt: アテナイの学堂に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Leonardo da Vinci
List of paintings by Raphael
Raphael


section

アテナイの学堂

List of paintings by RaphaelThe st Supper by Leonardo da Vinci

Prompt: アテナイの学堂の参照を説明してください。英語で出力して下さい。

Leonardo da Vinci
List of paintings by Raphael
Raphael


section

アテナイの学堂

List of paintings by RaphaelThe st Supper by Leonardo da Vinci

Prompt: アテナイの学堂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。

Leonardo da Vinci
List of paintings by Raphael
Raphael


section

アテナイの学堂

List of paintings by RaphaelThe st Supper by Leonardo da Vinci

Prompt: アテナイの学堂に関して、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。

Leonardo da Vinci
List of paintings by Raphael
Raphael


section

アテナイの学堂

Henry Keazor: Raffaels „Schule von Athen“. Von der Philosophenakademie zur Hall of Fame, Berlin 2021, ISBN  978-3-8031-3695-4. Gertrude Garrigues,

Prompt: アテナイの学堂に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

アテナイの学堂

Henry Keazor: Raffaels „Schule von Athen“. Von der Philosophenakademie zur Hall of Fame, Berlin 2021, ISBN  978-3-8031-3695-4. Gertrude Garrigues,

Prompt: アテナイの学堂のさらなる読書を説明してください。英語で出力して下さい。


section

アテナイの学堂

Henry Keazor: Raffaels „Schule von Athen“. Von der Philosophenakademie zur Hall of Fame, Berlin 2021, ISBN  978-3-8031-3695-4. Gertrude Garrigues,

Prompt: アテナイの学堂はどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

アテナイの学堂

Henry Keazor: Raffaels „Schule von Athen“. Von der Philosophenakademie zur Hall of Fame, Berlin 2021, ISBN  978-3-8031-3695-4. Gertrude Garrigues,

Prompt: アテナイの学堂に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


subsection

アテナイの学堂

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been identified. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.

Prompt: アテナイの学堂の文脈で、数字とプログラム, 科目, 図形識別と解釈を説明してください。英語で出力して下さい。

Aristotle
Federico II Gonzaga, Duke of Mantua
Plato
Raphael


subsection

アテナイの学堂

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been identified. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈に関する数字を説明してください。英語で出力して下さい。

Aristotle
Federico II Gonzaga, Duke of Mantua
Plato
Raphael


subsection

アテナイの学堂

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been identified. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.

Prompt: アテナイの学堂では、どのようにプログラム, 科目, 図形識別と解釈の数字が説明されていますか？英語で出力して下さい。

Aristotle
Federico II Gonzaga, Duke of Mantua
Plato
Raphael


subsection

アテナイの学堂

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been identified. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈における数字の特徴を説明してください。英語で出力して下さい。

Aristotle
Federico II Gonzaga, Duke of Mantua
Plato
Raphael


subsection

アテナイの学堂

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold contemporary , bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and bare foot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane , initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm.

Prompt: アテナイの学堂の文脈で、中央人物（14と15）とプログラム, 科目, 図形識別と解釈を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold contemporary , bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and bare foot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane , initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm.

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈に関する中央人物（14と15）を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold contemporary , bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and bare foot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane , initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm.

Prompt: アテナイの学堂では、どのようにプログラム, 科目, 図形識別と解釈の中央人物（14と15）が説明されていますか？英語で出力して下さい。


subsection

アテナイの学堂

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold contemporary , bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and bare foot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane , initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm.

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈における中央人物（14と15）の特徴を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology . The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.

Prompt: アテナイの学堂の文脈で、設定とプログラム, 科目, 図形識別と解釈を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology . The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈に関する設定を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology . The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.

Prompt: アテナイの学堂では、どのようにプログラム, 科目, 図形識別と解釈の設定が説明されていますか？英語で出力して下さい。


subsection

アテナイの学堂

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology . The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈における設定の特徴を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

Roger Jones and Nicholas Penny, Raphael, Yale, 1983, . Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance .

Prompt: アテナイの学堂の文脈で、情報源とプログラム, 科目, 図形識別と解釈を説明してください。英語で出力して下さい。

Heinrich Wölfflin
Italian Renaissance
Nicholas Penny
Raphael


subsection

アテナイの学堂

Roger Jones and Nicholas Penny, Raphael, Yale, 1983, . Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance .

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈に関する情報源を説明してください。英語で出力して下さい。

Heinrich Wölfflin
Italian Renaissance
Nicholas Penny
Raphael


subsection

アテナイの学堂

Roger Jones and Nicholas Penny, Raphael, Yale, 1983, . Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance .

Prompt: アテナイの学堂では、どのようにプログラム, 科目, 図形識別と解釈の情報源が説明されていますか？英語で出力して下さい。

Heinrich Wölfflin
Italian Renaissance
Nicholas Penny
Raphael


subsection

アテナイの学堂

Roger Jones and Nicholas Penny, Raphael, Yale, 1983, . Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance .

Prompt: アテナイの学堂のプログラム, 科目, 図形識別と解釈における情報源の特徴を説明してください。英語で出力して下さい。

Heinrich Wölfflin
Italian Renaissance
Nicholas Penny
Raphael


subsection

アテナイの学堂

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been identified. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.

Prompt: アテナイの学堂の文脈で、数字と参照を説明してください。英語で出力して下さい。

Aristotle
Federico II Gonzaga, Duke of Mantua
Plato
Raphael


subsection

アテナイの学堂

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been identified. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.

Prompt: アテナイの学堂の参照に関する数字を説明してください。英語で出力して下さい。

Aristotle
Federico II Gonzaga, Duke of Mantua
Plato
Raphael


subsection

アテナイの学堂

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been identified. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.

Prompt: アテナイの学堂では、どのように参照の数字が説明されていますか？英語で出力して下さい。

Aristotle
Federico II Gonzaga, Duke of Mantua
Plato
Raphael


subsection

アテナイの学堂

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been identified. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.

Prompt: アテナイの学堂の参照における数字の特徴を説明してください。英語で出力して下さい。

Aristotle
Federico II Gonzaga, Duke of Mantua
Plato
Raphael


subsection

アテナイの学堂

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold contemporary , bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and bare foot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane , initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm.

Prompt: アテナイの学堂の文脈で、中央人物（14と15）と参照を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold contemporary , bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and bare foot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane , initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm.

Prompt: アテナイの学堂の参照に関する中央人物（14と15）を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold contemporary , bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and bare foot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane , initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm.

Prompt: アテナイの学堂では、どのように参照の中央人物（14と15）が説明されていますか？英語で出力して下さい。


subsection

アテナイの学堂

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold contemporary , bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and bare foot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane , initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm.

Prompt: アテナイの学堂の参照における中央人物（14と15）の特徴を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology . The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.

Prompt: アテナイの学堂の文脈で、設定と参照を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology . The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.

Prompt: アテナイの学堂の参照に関する設定を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology . The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.

Prompt: アテナイの学堂では、どのように参照の設定が説明されていますか？英語で出力して下さい。


subsection

アテナイの学堂

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology . The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.

Prompt: アテナイの学堂の参照における設定の特徴を説明してください。英語で出力して下さい。


subsection

アテナイの学堂

Roger Jones and Nicholas Penny, Raphael, Yale, 1983, . Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance .

Prompt: アテナイの学堂の文脈で、情報源と参照を説明してください。英語で出力して下さい。

Heinrich Wölfflin
Italian Renaissance
Nicholas Penny
Raphael


subsection

アテナイの学堂

Roger Jones and Nicholas Penny, Raphael, Yale, 1983, . Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance .

Prompt: アテナイの学堂の参照に関する情報源を説明してください。英語で出力して下さい。

Heinrich Wölfflin
Italian Renaissance
Nicholas Penny
Raphael


subsection

アテナイの学堂

Roger Jones and Nicholas Penny, Raphael, Yale, 1983, . Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance .

Prompt: アテナイの学堂では、どのように参照の情報源が説明されていますか？英語で出力して下さい。

Heinrich Wölfflin
Italian Renaissance
Nicholas Penny
Raphael


subsection

アテナイの学堂

Roger Jones and Nicholas Penny, Raphael, Yale, 1983, . Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance .

Prompt: アテナイの学堂の参照における情報源の特徴を説明してください。英語で出力して下さい。

Heinrich Wölfflin
Italian Renaissance
Nicholas Penny
Raphael


section

ユピテル、ネプトゥヌスとプルート

Jupiter, Neptune and Pluto  is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes  referred to as such. Oil painting is normally on canvas or, less frequently, on wood.

Prompt: ユピテル、ネプトゥヌスとプルートに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Baroque
Caravaggio
Caravaggio
Oil painting
Rome
Villa Ludovisi


section

ユピテル、ネプトゥヌスとプルート

Jupiter, Neptune and Pluto  is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes  referred to as such. Oil painting is normally on canvas or, less frequently, on wood.

Prompt: ユピテル、ネプトゥヌスとプルートの抽象を説明してください。英語で出力して下さい。

Baroque
Caravaggio
Caravaggio
Oil painting
Rome
Villa Ludovisi


section

ユピテル、ネプトゥヌスとプルート

Jupiter, Neptune and Pluto  is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes  referred to as such. Oil painting is normally on canvas or, less frequently, on wood.

Prompt: ユピテル、ネプトゥヌスとプルート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。

Baroque
Caravaggio
Caravaggio
Oil painting
Rome
Villa Ludovisi


section

ユピテル、ネプトゥヌスとプルート

Jupiter, Neptune and Pluto  is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the former hunting lodge of the erstwhile Villa Ludovisi, Rome. It is unusually painted in oils on plaster and hence it is not a fresco, although it is sometimes  referred to as such. Oil painting is normally on canvas or, less frequently, on wood.

Prompt: ユピテル、ネプトゥヌスとプルートに関して、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。

Baroque
Caravaggio
Caravaggio
Oil painting
Rome
Villa Ludovisi


section

ユピテル、ネプトゥヌスとプルート

According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods.

Prompt: ユピテル、ネプトゥヌスとプルートに焦点を当てて、その文脈を説明してください。英語で出力して下さい。


section

ユピテル、ネプトゥヌスとプルート

According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods.

Prompt: ユピテル、ネプトゥヌスとプルートの文脈を説明してください。英語で出力して下さい。


section

ユピテル、ネプトゥヌスとプルート

According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods.

Prompt: ユピテル、ネプトゥヌスとプルートはどのように文脈を説明していますか？英語で出力して下さい。


section

ユピテル、ネプトゥヌスとプルート

According to an early biographer, one of Caravaggio's aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable. They contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods.

Prompt: ユピテル、ネプトゥヌスとプルートに関して、どのように文脈が議論されていますか？英語で出力して下さい。


section

ユピテル、ネプトゥヌスとプルート

For a more in-depth description and analysis, see Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology.

Prompt: ユピテル、ネプトゥヌスとプルートに焦点を当てて、その説明を説明してください。英語で出力して下さい。

Caravaggio Cerberus Earth Caravaggio Paracelsus


section

ユピテル、ネプトゥヌスとプルート

For a more in-depth description and analysis, see Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology.

Prompt: ユピテル、ネプトゥヌスとプルートの説明を説明してください。英語で出力して下さい。

Caravaggio Cerberus Earth Caravaggio Paracelsus


section

ユピテル、ネプトゥヌスとプルート

For a more in-depth description and analysis, see Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology.

Prompt: ユピテル、ネプトゥヌスとプルート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。

Caravaggio Cerberus Earth Caravaggio Paracelsus


section

ユピテル、ネプトゥヌスとプルート

For a more in-depth description and analysis, see Cardinal Francesco Maria Del Monte, Caravaggio's patron, had a keen interest in alchemy. Caravaggio has painted an allegory of the alchemical triad of Paracelsus: Jupiter stands for sulphur and air, Neptune for mercury and water, and Pluto for salt and earth. Each figure is identified by his beast: Jupiter by the eagle, Neptune by the hippocamp, and Pluto by the three-headed dog Cerberus. Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte, but had yet to make his mark on cosmology.

Prompt: ユピテル、ネプトゥヌスとプルートに関して、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。

Caravaggio Cerberus Earth Caravaggio Paracelsus


section

ユピテル、ネプトゥヌスとプルート

The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount  on April 7, 2022.

Prompt: ユピテル、ネプトゥヌスとプルートに焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

ユピテル、ネプトゥヌスとプルート

The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount  on April 7, 2022.

Prompt: ユピテル、ネプトゥヌスとプルートの歴史を説明してください。英語で出力して下さい。


section

ユピテル、ネプトゥヌスとプルート

The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount  on April 7, 2022.

Prompt: ユピテル、ネプトゥヌスとプルートはどのように歴史を説明していますか？英語で出力して下さい。


section

ユピテル、ネプトゥヌスとプルート

The painting was done for Caravaggio's patron Cardinal Del Monte and painted on the ceiling of the cardinal's garden casino of his country estate, which later became known as the Villa Ludovisi.The Villa Aurora is private property in the hands of the Ludovisi family.The property, including the mural, was put up for sale in 2021 after an inheritance dispute following the death of its last owner, Prince Nicolò Boncompagni Ludovisi, in 2018. The presence of the Caravaggio painting was a major part of the elevated price of the property, potentially making it one of the most expensive residences globally. The property was put up for auction by a notary on January 18, 2022 for a minimum bid of 471 million euros. There were no offers. The villa requires an estimated 10 million euros of restoration work. It will be offered again at a 20 percent discount  on April 7, 2022.

Prompt: ユピテル、ネプトゥヌスとプルートに関して、どのように歴史が議論されていますか？英語で出力して下さい。


section

ユピテル、ネプトゥヌスとプルート

Prompt: ユピテル、ネプトゥヌスとプルートに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio
Caravaggio


section

ユピテル、ネプトゥヌスとプルート

Prompt: ユピテル、ネプトゥヌスとプルートの参照を説明してください。英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio
Caravaggio


section

ユピテル、ネプトゥヌスとプルート

Prompt: ユピテル、ネプトゥヌスとプルートはどのように参照を説明していますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio
Caravaggio


section

ユピテル、ネプトゥヌスとプルート

Prompt: ユピテル、ネプトゥヌスとプルートに関して、どのように参照が議論されていますか？英語で出力して下さい。

Caravaggio
List of paintings by Caravaggio
Caravaggio


section

牛乳を注ぐ女

–1658  medium = Oil on canvas height_metric = H 45.5 width_metric = W 41 metric_unit = cm height_imperial =  width_imperial =  imperial_unit = in city  = Amsterdam, the Netherlands museum = Rijksmuseum movement = Baroque, Dutch Golden Age}}The Milkmaid , sometimes called The Kitchen Maid, is an oil-on-canvas painting of a "milkmaid", in fact, a domestic kitchen maid, by the Dutch artist Johannes Vermeer. It is in the Rijksmuseum in Amsterdam, the Netherlands, which regards it as "unquestionably one of the museum's finest attractions".The exact year of the painting's completion is unknown, with estimates varying by source. The Rijksmuseum estimates it as circa 1658. According to the Metropolitan Museum of Art in New York City, it was painted in about 1657 or 1658. The "Essential Vermeer" website gives a broader range of 1658–1661.

Prompt: 牛乳を注ぐ女に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Amsterdam
Johannes Vermeer
Maid
Metropolitan Museum of Art
Milkmaid
Netherlands
Rijksmuseum
Rijksmuseum


section

牛乳を注ぐ女

–1658  medium = Oil on canvas height_metric = H 45.5 width_metric = W 41 metric_unit = cm height_imperial =  width_imperial =  imperial_unit = in city  = Amsterdam, the Netherlands museum = Rijksmuseum movement = Baroque, Dutch Golden Age}}The Milkmaid , sometimes called The Kitchen Maid, is an oil-on-canvas painting of a "milkmaid", in fact, a domestic kitchen maid, by the Dutch artist Johannes Vermeer. It is in the Rijksmuseum in Amsterdam, the Netherlands, which regards it as "unquestionably one of the museum's finest attractions".The exact year of the painting's completion is unknown, with estimates varying by source. The Rijksmuseum estimates it as circa 1658. According to the Metropolitan Museum of Art in New York City, it was painted in about 1657 or 1658. The "Essential Vermeer" website gives a broader range of 1658–1661.

Prompt: 牛乳を注ぐ女の抽象を説明してください。英語で出力して下さい。

Amsterdam
Johannes Vermeer
Maid
Metropolitan Museum of Art
Milkmaid
Netherlands
Rijksmuseum
Rijksmuseum


section

牛乳を注ぐ女

–1658  medium = Oil on canvas height_metric = H 45.5 width_metric = W 41 metric_unit = cm height_imperial =  width_imperial =  imperial_unit = in city  = Amsterdam, the Netherlands museum = Rijksmuseum movement = Baroque, Dutch Golden Age}}The Milkmaid , sometimes called The Kitchen Maid, is an oil-on-canvas painting of a "milkmaid", in fact, a domestic kitchen maid, by the Dutch artist Johannes Vermeer. It is in the Rijksmuseum in Amsterdam, the Netherlands, which regards it as "unquestionably one of the museum's finest attractions".The exact year of the painting's completion is unknown, with estimates varying by source. The Rijksmuseum estimates it as circa 1658. According to the Metropolitan Museum of Art in New York City, it was painted in about 1657 or 1658. The "Essential Vermeer" website gives a broader range of 1658–1661.

Prompt: 牛乳を注ぐ女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。

Amsterdam
Johannes Vermeer
Maid
Metropolitan Museum of Art
Milkmaid
Netherlands
Rijksmuseum
Rijksmuseum


section

牛乳を注ぐ女

–1658  medium = Oil on canvas height_metric = H 45.5 width_metric = W 41 metric_unit = cm height_imperial =  width_imperial =  imperial_unit = in city  = Amsterdam, the Netherlands museum = Rijksmuseum movement = Baroque, Dutch Golden Age}}The Milkmaid , sometimes called The Kitchen Maid, is an oil-on-canvas painting of a "milkmaid", in fact, a domestic kitchen maid, by the Dutch artist Johannes Vermeer. It is in the Rijksmuseum in Amsterdam, the Netherlands, which regards it as "unquestionably one of the museum's finest attractions".The exact year of the painting's completion is unknown, with estimates varying by source. The Rijksmuseum estimates it as circa 1658. According to the Metropolitan Museum of Art in New York City, it was painted in about 1657 or 1658. The "Essential Vermeer" website gives a broader range of 1658–1661.

Prompt: 牛乳を注ぐ女に関して、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。

Amsterdam
Johannes Vermeer
Maid
Metropolitan Museum of Art
Milkmaid
Netherlands
Rijksmuseum
Rijksmuseum


section

牛乳を注ぐ女

The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table. Milkmaids began working solely in the stables before large houses hired them to do housework as well rather than hiring out for more staff. Also on the table in front of the milkmaid are various types of bread. She is a young, sturdily built woman wearing a crisp linen cap, a blue apron and work sleeves pushed up from thick forearms. A foot warmer is on the floor behind her, near Delft wall tiles depicting Cupid  and a figure with a pole . Intense light streams from the window on the left side of the canvas.The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. "The light, though bright, doesn't wash out the rough texture of the bread crusts or flatten the volumes of the maid's thick waist and rounded shoulders", wrote Karen Rosenberg, an art critic for The New York Times. Yet with half of the woman's face in shadow, it is "impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration," she wrote.

Prompt: 牛乳を注ぐ女に焦点を当てて、その説明、解説を説明してください。英語で出力して下さい。


section

牛乳を注ぐ女

The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table. Milkmaids began working solely in the stables before large houses hired them to do housework as well rather than hiring out for more staff. Also on the table in front of the milkmaid are various types of bread. She is a young, sturdily built woman wearing a crisp linen cap, a blue apron and work sleeves pushed up from thick forearms. A foot warmer is on the floor behind her, near Delft wall tiles depicting Cupid  and a figure with a pole . Intense light streams from the window on the left side of the canvas.The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. "The light, though bright, doesn't wash out the rough texture of the bread crusts or flatten the volumes of the maid's thick waist and rounded shoulders", wrote Karen Rosenberg, an art critic for The New York Times. Yet with half of the woman's face in shadow, it is "impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration," she wrote.

Prompt: 牛乳を注ぐ女の説明、解説を説明してください。英語で出力して下さい。


section

牛乳を注ぐ女

The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table. Milkmaids began working solely in the stables before large houses hired them to do housework as well rather than hiring out for more staff. Also on the table in front of the milkmaid are various types of bread. She is a young, sturdily built woman wearing a crisp linen cap, a blue apron and work sleeves pushed up from thick forearms. A foot warmer is on the floor behind her, near Delft wall tiles depicting Cupid  and a figure with a pole . Intense light streams from the window on the left side of the canvas.The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. "The light, though bright, doesn't wash out the rough texture of the bread crusts or flatten the volumes of the maid's thick waist and rounded shoulders", wrote Karen Rosenberg, an art critic for The New York Times. Yet with half of the woman's face in shadow, it is "impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration," she wrote.

Prompt: 牛乳を注ぐ女はどのように説明、解説を説明していますか？英語で出力して下さい。


section

牛乳を注ぐ女

The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table. Milkmaids began working solely in the stables before large houses hired them to do housework as well rather than hiring out for more staff. Also on the table in front of the milkmaid are various types of bread. She is a young, sturdily built woman wearing a crisp linen cap, a blue apron and work sleeves pushed up from thick forearms. A foot warmer is on the floor behind her, near Delft wall tiles depicting Cupid  and a figure with a pole . Intense light streams from the window on the left side of the canvas.The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. "The light, though bright, doesn't wash out the rough texture of the bread crusts or flatten the volumes of the maid's thick waist and rounded shoulders", wrote Karen Rosenberg, an art critic for The New York Times. Yet with half of the woman's face in shadow, it is "impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration," she wrote.

Prompt: 牛乳を注ぐ女に関して、どのように説明、解説が議論されていますか？英語で出力して下さい。


section

牛乳を注ぐ女

Pieter van Ruijven , Vermeer's patron in Delft , probably bought the painting directly from the artist. Liedtke doubts that the patron ordered the subject matter. whose estate sold it with other paintings by the artist in 1696. Records of that sale described The Milkmaid as "exceptionally good", and the work brought the second-highest price in the sale . In 1822 she married into the Six family of collectors, and in 1908 her two sons sold the painting  to the Rijksmuseum, which acquired the works with support from the Dutch government and the Rembrandt Society — but not before a good deal of public squabbling and the intervention of the States-General or Dutch parliament.

Prompt: 牛乳を注ぐ女に焦点を当てて、その起源を説明してください。英語で出力して下さい。

Delft
Milkmaid
Pieter van Ruijven
Rembrandt Society
Rijksmuseum
Rijksmuseum
Six family


section

牛乳を注ぐ女

Pieter van Ruijven , Vermeer's patron in Delft , probably bought the painting directly from the artist. Liedtke doubts that the patron ordered the subject matter. whose estate sold it with other paintings by the artist in 1696. Records of that sale described The Milkmaid as "exceptionally good", and the work brought the second-highest price in the sale . In 1822 she married into the Six family of collectors, and in 1908 her two sons sold the painting  to the Rijksmuseum, which acquired the works with support from the Dutch government and the Rembrandt Society — but not before a good deal of public squabbling and the intervention of the States-General or Dutch parliament.

Prompt: 牛乳を注ぐ女の起源を説明してください。英語で出力して下さい。

Delft
Milkmaid
Pieter van Ruijven
Rembrandt Society
Rijksmuseum
Rijksmuseum
Six family


section

牛乳を注ぐ女

Pieter van Ruijven , Vermeer's patron in Delft , probably bought the painting directly from the artist. Liedtke doubts that the patron ordered the subject matter. whose estate sold it with other paintings by the artist in 1696. Records of that sale described The Milkmaid as "exceptionally good", and the work brought the second-highest price in the sale . In 1822 she married into the Six family of collectors, and in 1908 her two sons sold the painting  to the Rijksmuseum, which acquired the works with support from the Dutch government and the Rembrandt Society — but not before a good deal of public squabbling and the intervention of the States-General or Dutch parliament.

Prompt: 牛乳を注ぐ女はどのように起源を説明していますか？英語で出力して下さい。

Delft
Milkmaid
Pieter van Ruijven
Rembrandt Society
Rijksmuseum
Rijksmuseum
Six family


section

牛乳を注ぐ女

Pieter van Ruijven , Vermeer's patron in Delft , probably bought the painting directly from the artist. Liedtke doubts that the patron ordered the subject matter. whose estate sold it with other paintings by the artist in 1696. Records of that sale described The Milkmaid as "exceptionally good", and the work brought the second-highest price in the sale . In 1822 she married into the Six family of collectors, and in 1908 her two sons sold the painting  to the Rijksmuseum, which acquired the works with support from the Dutch government and the Rembrandt Society — but not before a good deal of public squabbling and the intervention of the States-General or Dutch parliament.

Prompt: 牛乳を注ぐ女に関して、どのように起源が議論されていますか？英語で出力して下さい。

Delft
Milkmaid
Pieter van Ruijven
Rembrandt Society
Rijksmuseum
Rijksmuseum
Six family


section

牛乳を注ぐ女

The painting has been exhibited in western Europe and in the United States. In 1872 it was part of an Amsterdam exhibition of "old masters" , for Arti et Amicitiae, a society of visual artists and art lovers, and in 1900 it was part of an exhibition at Stedelijk Museum Amsterdam. Other European exhibits showing the work include the Royal Academy of Arts  in 1929; Galerie nationale du Jeu de Paume  in 1921; Museum Boijmans Van Beuningen  in 1935. and the outbreak of World War II during the fair – with the German occupation of the Netherlands – caused the work to remain in the U.S. until Holland was liberated. During this time it was displayed at the Detroit Institute of Arts in Michigan , and was included in that museum's exhibition catalogues in 1939 and 1941. During the war, the work was also displayed at The Metropolitan Museum of Art in New York, where it was hanging as late as 1944, according to Leidtke.

Prompt: 牛乳を注ぐ女に焦点を当てて、その展示会を説明してください。英語で出力して下さい。

Amsterdam
Detroit Institute of Arts
Galerie nationale du Jeu de Paume
Metropolitan Museum of Art
Michigan
Museum Boijmans Van Beuningen
Netherlands
Royal Academy of Arts
Stedelijk Museum Amsterdam


section

牛乳を注ぐ女

The painting has been exhibited in western Europe and in the United States. In 1872 it was part of an Amsterdam exhibition of "old masters" , for Arti et Amicitiae, a society of visual artists and art lovers, and in 1900 it was part of an exhibition at Stedelijk Museum Amsterdam. Other European exhibits showing the work include the Royal Academy of Arts  in 1929; Galerie nationale du Jeu de Paume  in 1921; Museum Boijmans Van Beuningen  in 1935. and the outbreak of World War II during the fair – with the German occupation of the Netherlands – caused the work to remain in the U.S. until Holland was liberated. During this time it was displayed at the Detroit Institute of Arts in Michigan , and was included in that museum's exhibition catalogues in 1939 and 1941. During the war, the work was also displayed at The Metropolitan Museum of Art in New York, where it was hanging as late as 1944, according to Leidtke.

Prompt: 牛乳を注ぐ女の展示会を説明してください。英語で出力して下さい。

Amsterdam
Detroit Institute of Arts
Galerie nationale du Jeu de Paume
Metropolitan Museum of Art
Michigan
Museum Boijmans Van Beuningen
Netherlands
Royal Academy of Arts
Stedelijk Museum Amsterdam


section

牛乳を注ぐ女

The painting has been exhibited in western Europe and in the United States. In 1872 it was part of an Amsterdam exhibition of "old masters" , for Arti et Amicitiae, a society of visual artists and art lovers, and in 1900 it was part of an exhibition at Stedelijk Museum Amsterdam. Other European exhibits showing the work include the Royal Academy of Arts  in 1929; Galerie nationale du Jeu de Paume  in 1921; Museum Boijmans Van Beuningen  in 1935. and the outbreak of World War II during the fair – with the German occupation of the Netherlands – caused the work to remain in the U.S. until Holland was liberated. During this time it was displayed at the Detroit Institute of Arts in Michigan , and was included in that museum's exhibition catalogues in 1939 and 1941. During the war, the work was also displayed at The Metropolitan Museum of Art in New York, where it was hanging as late as 1944, according to Leidtke.

Prompt: 牛乳を注ぐ女はどのように展示会を説明していますか？英語で出力して下さい。

Amsterdam
Detroit Institute of Arts
Galerie nationale du Jeu de Paume
Metropolitan Museum of Art
Michigan
Museum Boijmans Van Beuningen
Netherlands
Royal Academy of Arts
Stedelijk Museum Amsterdam


section

牛乳を注ぐ女

The painting has been exhibited in western Europe and in the United States. In 1872 it was part of an Amsterdam exhibition of "old masters" , for Arti et Amicitiae, a society of visual artists and art lovers, and in 1900 it was part of an exhibition at Stedelijk Museum Amsterdam. Other European exhibits showing the work include the Royal Academy of Arts  in 1929; Galerie nationale du Jeu de Paume  in 1921; Museum Boijmans Van Beuningen  in 1935. and the outbreak of World War II during the fair – with the German occupation of the Netherlands – caused the work to remain in the U.S. until Holland was liberated. During this time it was displayed at the Detroit Institute of Arts in Michigan , and was included in that museum's exhibition catalogues in 1939 and 1941. During the war, the work was also displayed at The Metropolitan Museum of Art in New York, where it was hanging as late as 1944, according to Leidtke.

Prompt: 牛乳を注ぐ女に関して、どのように展示会が議論されていますか？英語で出力して下さい。

Amsterdam
Detroit Institute of Arts
Galerie nationale du Jeu de Paume
Metropolitan Museum of Art
Michigan
Museum Boijmans Van Beuningen
Netherlands
Royal Academy of Arts
Stedelijk Museum Amsterdam


section

牛乳を注ぐ女

Dutch Golden Age painting The Basket of Bread List of paintings by Johannes Vermeer

Prompt: 牛乳を注ぐ女に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer
The Basket of Bread


section

牛乳を注ぐ女

Dutch Golden Age painting The Basket of Bread List of paintings by Johannes Vermeer

Prompt: 牛乳を注ぐ女の参照を説明してください。英語で出力して下さい。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer
The Basket of Bread


section

牛乳を注ぐ女

Dutch Golden Age painting The Basket of Bread List of paintings by Johannes Vermeer

Prompt: 牛乳を注ぐ女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。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer
The Basket of Bread


section

牛乳を注ぐ女

Dutch Golden Age painting The Basket of Bread List of paintings by Johannes Vermeer

Prompt: 牛乳を注ぐ女に関して、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。

Dutch Golden Age painting
Johannes Vermeer
List of paintings by Johannes Vermeer
The Basket of Bread


subsection

牛乳を注ぐ女

The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens.  Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so.In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America.  Liedtke offers as an example Vermeer's contemporary, Samuel Pepys, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by  Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.In Dutch, Het Melkmeisje is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid"  has gained a negative connotation that is not present in its diminutive form —hence the use of the more friendly title for the work, used by the Rijksmuseum and others.

Prompt: 牛乳を注ぐ女の文脈で、オランダのメイドの図像学と説明、解説を説明してください。英語で出力して下さい。

Delft
Milkmaid
Pieter de Hooch
Pieter van Ruijven
Rijksmuseum
Rijksmuseum
Samuel Pepys


subsection

牛乳を注ぐ女

The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens.  Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so.In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America.  Liedtke offers as an example Vermeer's contemporary, Samuel Pepys, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by  Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.In Dutch, Het Melkmeisje is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid"  has gained a negative connotation that is not present in its diminutive form —hence the use of the more friendly title for the work, used by the Rijksmuseum and others.

Prompt: 牛乳を注ぐ女の説明、解説に関するオランダのメイドの図像学を説明してください。英語で出力して下さい。

Delft
Milkmaid
Pieter de Hooch
Pieter van Ruijven
Rijksmuseum
Rijksmuseum
Samuel Pepys


subsection

牛乳を注ぐ女

The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens.  Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so.In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America.  Liedtke offers as an example Vermeer's contemporary, Samuel Pepys, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by  Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.In Dutch, Het Melkmeisje is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid"  has gained a negative connotation that is not present in its diminutive form —hence the use of the more friendly title for the work, used by the Rijksmuseum and others.

Prompt: 牛乳を注ぐ女では、どのように説明、解説のオランダのメイドの図像学が説明されていますか？英語で出力して下さい。

Delft
Milkmaid
Pieter de Hooch
Pieter van Ruijven
Rijksmuseum
Rijksmuseum
Samuel Pepys


subsection

牛乳を注ぐ女

The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens.  Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so.In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America.  Liedtke offers as an example Vermeer's contemporary, Samuel Pepys, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by  Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.In Dutch, Het Melkmeisje is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid"  has gained a negative connotation that is not present in its diminutive form —hence the use of the more friendly title for the work, used by the Rijksmuseum and others.

Prompt: 牛乳を注ぐ女の説明、解説におけるオランダのメイドの図像学の特徴を説明してください。英語で出力して下さい。

Delft
Milkmaid
Pieter de Hooch
Pieter van Ruijven
Rijksmuseum
Rijksmuseum
Samuel Pepys


subsection

牛乳を注ぐ女

According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.

Prompt: 牛乳を注ぐ女の文脈で、物語的要素と説明、解説を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.

Prompt: 牛乳を注ぐ女の説明、解説に関する物語的要素を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.

Prompt: 牛乳を注ぐ女では、どのように説明、解説の物語的要素が説明されていますか？英語で出力して下さい。


subsection

牛乳を注ぐ女

According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.

Prompt: 牛乳を注ぐ女の説明、解説における物語的要素の特徴を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art.Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing.""Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "pointillé pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."Vermeer painted over two items originally in the painting. One was a large wall map  behind the upper part of the woman's body.  He originally placed a large, conspicuous clothes basket  near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone  on the wall behind the foot warmer. The basket was later discovered with an X-ray. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus."[I]ts rustic immediacy differs from Vermeer's later paintings," according to neri. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."

Prompt: 牛乳を注ぐ女の文脈で、構成戦略と説明、解説を説明してください。英語で出力して下さい。

Delft
Girl with a Pearl Earring
Metropolitan Museum of Art
Milkmaid
X-ray


subsection

牛乳を注ぐ女

An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art.Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing.""Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "pointillé pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."Vermeer painted over two items originally in the painting. One was a large wall map  behind the upper part of the woman's body.  He originally placed a large, conspicuous clothes basket  near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone  on the wall behind the foot warmer. The basket was later discovered with an X-ray. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus."[I]ts rustic immediacy differs from Vermeer's later paintings," according to neri. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."

Prompt: 牛乳を注ぐ女の説明、解説に関する構成戦略を説明してください。英語で出力して下さい。

Delft
Girl with a Pearl Earring
Metropolitan Museum of Art
Milkmaid
X-ray


subsection

牛乳を注ぐ女

An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art.Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing.""Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "pointillé pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."Vermeer painted over two items originally in the painting. One was a large wall map  behind the upper part of the woman's body.  He originally placed a large, conspicuous clothes basket  near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone  on the wall behind the foot warmer. The basket was later discovered with an X-ray. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus."[I]ts rustic immediacy differs from Vermeer's later paintings," according to neri. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."

Prompt: 牛乳を注ぐ女では、どのように説明、解説の構成戦略が説明されていますか？英語で出力して下さい。

Delft
Girl with a Pearl Earring
Metropolitan Museum of Art
Milkmaid
X-ray


subsection

牛乳を注ぐ女

An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art.Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing.""Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "pointillé pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."Vermeer painted over two items originally in the painting. One was a large wall map  behind the upper part of the woman's body.  He originally placed a large, conspicuous clothes basket  near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone  on the wall behind the foot warmer. The basket was later discovered with an X-ray. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus."[I]ts rustic immediacy differs from Vermeer's later paintings," according to neri. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."

Prompt: 牛乳を注ぐ女の説明、解説における構成戦略の特徴を説明してください。英語で出力して下さい。

Delft
Girl with a Pearl Earring
Metropolitan Museum of Art
Milkmaid
X-ray


subsection

牛乳を注ぐ女

This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine  where other painters typically used the much cheaper azurite. Along with the ultramarine, lead-tin-yellow is also a dominant color in an exceptionally luminous work . Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used white lead, umber and charcoal black. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one  reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane  is pushed inward within its frame.The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have snapped to get perspective lines, Liedtke said in a 2009 interview.The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a glaze  of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.

Prompt: 牛乳を注ぐ女の文脈で、技法と材料と説明、解説を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine  where other painters typically used the much cheaper azurite. Along with the ultramarine, lead-tin-yellow is also a dominant color in an exceptionally luminous work . Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used white lead, umber and charcoal black. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one  reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane  is pushed inward within its frame.The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have snapped to get perspective lines, Liedtke said in a 2009 interview.The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a glaze  of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.

Prompt: 牛乳を注ぐ女の説明、解説に関する技法と材料を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine  where other painters typically used the much cheaper azurite. Along with the ultramarine, lead-tin-yellow is also a dominant color in an exceptionally luminous work . Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used white lead, umber and charcoal black. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one  reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane  is pushed inward within its frame.The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have snapped to get perspective lines, Liedtke said in a 2009 interview.The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a glaze  of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.

Prompt: 牛乳を注ぐ女では、どのように説明、解説の技法と材料が説明されていますか？英語で出力して下さい。


subsection

牛乳を注ぐ女

This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine  where other painters typically used the much cheaper azurite. Along with the ultramarine, lead-tin-yellow is also a dominant color in an exceptionally luminous work . Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used white lead, umber and charcoal black. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.The woman's coarse features are painted with thick dabs of impasto. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one  reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane  is pushed inward within its frame.The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have snapped to get perspective lines, Liedtke said in a 2009 interview.The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a wet-on-wet method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a glaze  of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.

Prompt: 牛乳を注ぐ女の説明、解説における技法と材料の特徴を説明してください。英語で出力して下さい。


subsection

牛乳を注ぐ女

Bonafoux, Pascal, and Johannes Vermeer van Delft. Vermeer. New York: Konecky & Konecky, 1992.   Cant, Serena, and Jan Vermeer van Delft. Vermeer and His World, 1632-1675. London: Quercus, 2009.   Franits, Wayne E. The Cambridge Companion to Vermeer. Cambridge: Cambridge University Press, 2001.   Franits, Wayne E. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, Conn: Yale University Press, 2004.   Gaskell, Ivan, and Michiel Jonker. Vermeer Studies: [Proceedings of the Symposia "New Vermer Studies" Held in 1995 in Washington, and in 1996 in The Hague]. Washington: National Gallery of Art, 1998. Vol. 55.   Gowing, wrence, and Johannes Vermeer. Vermeer. Berkeley, Calif: University of California Press, 1997.   Henderson, Jasper, Victor Schiferli, and Lynne Richards. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.   - Translated from the Dutch from Lynne Richards. Koningsberger, Hans. The World of Vermeer, 1632-1675. Time-Life Library of Art series. Amsterdam: Time-Life Books, 1985.   Metropolitan Museum of Art , and Liedtke, Walter A. The Milkmaid by Johannes Vermeer / Walter Liedtke. New York: The Metropolitan Museum of Art, 2009   - 2009 exhibition catalogue Plomp, Michiel, et al. Vermeer and the Delft School / Walter Liedtke. New York : The Metropolitan Museum of Art, 2001.    - 2001 exhibition catalog Pollock, Griselda. Differencing the Canon Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999.   Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?" Bulletin Van Het Rijksmuseum. 46, no. 2-3: 275-278.   Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987.   Vermeer, Johannes, and Taco Dibbits. Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007. Tokyo: Tokyo Shimbun, 2007.  - 2007 exhibition catalog Wheelock, Arthur K. Vermeer & the Art of Painting. New Haven: Yale University Press, 1995.   Wheelock, Arthur K., and Johannes Vermeer. Vermeer: The Complete Works. New York: H.N. Abrams, 1997.

Prompt: 牛乳を注ぐ女の文脈で、モノグラフと説明、解説を説明してください。英語で出力して下さい。

Amsterdam
Delft
Johannes Vermeer
Metropolitan Museum of Art
Milkmaid
National Gallery
National Gallery of Art
Rijksmuseum
Rijksmuseum
The Embarrassment of Riches
Walter Liedtke
Yale University Press


subsection

牛乳を注ぐ女

Bonafoux, Pascal, and Johannes Vermeer van Delft. Vermeer. New York: Konecky & Konecky, 1992.   Cant, Serena, and Jan Vermeer van Delft. Vermeer and His World, 1632-1675. London: Quercus, 2009.   Franits, Wayne E. The Cambridge Companion to Vermeer. Cambridge: Cambridge University Press, 2001.   Franits, Wayne E. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, Conn: Yale University Press, 2004.   Gaskell, Ivan, and Michiel Jonker. Vermeer Studies: [Proceedings of the Symposia "New Vermer Studies" Held in 1995 in Washington, and in 1996 in The Hague]. Washington: National Gallery of Art, 1998. Vol. 55.   Gowing, wrence, and Johannes Vermeer. Vermeer. Berkeley, Calif: University of California Press, 1997.   Henderson, Jasper, Victor Schiferli, and Lynne Richards. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.   - Translated from the Dutch from Lynne Richards. Koningsberger, Hans. The World of Vermeer, 1632-1675. Time-Life Library of Art series. Amsterdam: Time-Life Books, 1985.   Metropolitan Museum of Art , and Liedtke, Walter A. The Milkmaid by Johannes Vermeer / Walter Liedtke. New York: The Metropolitan Museum of Art, 2009   - 2009 exhibition catalogue Plomp, Michiel, et al. Vermeer and the Delft School / Walter Liedtke. New York : The Metropolitan Museum of Art, 2001.    - 2001 exhibition catalog Pollock, Griselda. Differencing the Canon Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999.   Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?" Bulletin Van Het Rijksmuseum. 46, no. 2-3: 275-278.   Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987.   Vermeer, Johannes, and Taco Dibbits. Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007. Tokyo: Tokyo Shimbun, 2007.  - 2007 exhibition catalog Wheelock, Arthur K. Vermeer & the Art of Painting. New Haven: Yale University Press, 1995.   Wheelock, Arthur K., and Johannes Vermeer. Vermeer: The Complete Works. New York: H.N. Abrams, 1997.

Prompt: 牛乳を注ぐ女の説明、解説に関するモノグラフを説明してください。英語で出力して下さい。

Amsterdam
Delft
Johannes Vermeer
Metropolitan Museum of Art
Milkmaid
National Gallery
National Gallery of Art
Rijksmuseum
Rijksmuseum
The Embarrassment of Riches
Walter Liedtke
Yale University Press


subsection

牛乳を注ぐ女

Bonafoux, Pascal, and Johannes Vermeer van Delft. Vermeer. New York: Konecky & Konecky, 1992.   Cant, Serena, and Jan Vermeer van Delft. Vermeer and His World, 1632-1675. London: Quercus, 2009.   Franits, Wayne E. The Cambridge Companion to Vermeer. Cambridge: Cambridge University Press, 2001.   Franits, Wayne E. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, Conn: Yale University Press, 2004.   Gaskell, Ivan, and Michiel Jonker. Vermeer Studies: [Proceedings of the Symposia "New Vermer Studies" Held in 1995 in Washington, and in 1996 in The Hague]. Washington: National Gallery of Art, 1998. Vol. 55.   Gowing, wrence, and Johannes Vermeer. Vermeer. Berkeley, Calif: University of California Press, 1997.   Henderson, Jasper, Victor Schiferli, and Lynne Richards. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.   - Translated from the Dutch from Lynne Richards. Koningsberger, Hans. The World of Vermeer, 1632-1675. Time-Life Library of Art series. Amsterdam: Time-Life Books, 1985.   Metropolitan Museum of Art , and Liedtke, Walter A. The Milkmaid by Johannes Vermeer / Walter Liedtke. New York: The Metropolitan Museum of Art, 2009   - 2009 exhibition catalogue Plomp, Michiel, et al. Vermeer and the Delft School / Walter Liedtke. New York : The Metropolitan Museum of Art, 2001.    - 2001 exhibition catalog Pollock, Griselda. Differencing the Canon Feminist Desire and the Writing of Art's Histories. London: Routledge, 1999.   Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?" Bulletin Van Het Rijksmuseum. 46, no. 2-3: 275-278.   Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987.   Vermeer, Johannes, and Taco Dibbits. Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007. Tokyo: Tokyo Shimbun, 2007.  - 2007 exhibition catalog Wheelock, Arthur K. Vermeer & the Art of Painting. New Haven: Yale University Press, 1995.   Wheelock, Arthur K., and Johannes Vermeer. Vermeer: The Complete Works. New York: H.N. Abrams, 1997.

Prompt: 牛乳を注ぐ女では、どのように説明、解説のモノグラフが説明されていますか？英語で出力して下さい。

Amsterdam
Delft
Johannes Vermeer
Metropolitan Museum of Art
Milkmaid
National Gallery
National Gallery of Art
Rijksmuseum
Rijksmuseum
The Embarrassment of Riches
Walter Liedtke
Yale University Press