subsection

システィーナ礼拝堂天井画

The Sibyls were prophetic women who were resident at shrines or temples throughout the Classical world. These women were similar to Christian prophets in the sense that they were "spokeswomen for the divine oracles" and served as an "mouthpiece of the gods". Furthermore, the Sibyls embodied feminine figures that received messages from the gods and prophesized said messages to the ancient Greeks and Romans who heavily regarded their divinatory practices. Their prophecies predate those of the Christian prophets and were contextually paganistic due to the commonly known beliefs at that time.Authors from antiquity utilized the Greco-Roman Sibyls to legitimize Christianity. The papal court generally regarded antiquity as setting the stage for Christianity. The text Divine Institutes by ctanitus, a Christian author that was an advisor to Emperor Constantine in 280, was one of the first texts composed to legitimize Christianity and convert pagans and gentiles to the religion. In Divine Institutions, ctantius states “Another Sibyl … conveyed the word of God to man and said ‘I am the only god and there is no other.’”, validating monotheism from the written account of a pagan Sibyl. Additionally, the Cumaean Sibyl is quoted by 1st-century BC Roman poet Virgil in his Fourth Eclogue as declaring that "a new progeny of Heaven" would bring about a return of the "Golden Age". Many people during the Renaissance interpreted this as foretelling the birth of Jesus.This association of the Sibyls with Christianity also progresses into Christian worship in the Middle Ages, as they appeared in the Dies Irae tin hymn produced by either the Franciscan or Dominican monastic order. The hymn utilizes the pagan Sybil as a witness to David's lineage to Christ and uses these figures from Greco-Roman antiquity to support the Christian beliefs of the coming of Christ from an era before the prophets. There was an increasing interest in the remains of Rome's pagan past within the Catholic Church; scholars had turned from reading Mediaeval ecclesiastical tin texts to classical tin and the philosophies of the Classical world were studied along with the writings of St Augustine. Thus, the presence of five pagan prophets in the Sistine Chapel is not surprising. Furthermore, this is not the first appearance of Sibyls within a Christian church. Michelangelo's mentor Domenico Ghirlandaio painted Sibyls on the ceiling of Santa Trinita's Sassetti Chapel approximately 20 years prior to the start of the Sistine Chapel ceiling.It is not known why Michelangelo selected the five particular Sibyls that were depicted, given that there were ten possibilities. O'Malley suggests that the four besides the Cumaean Sibyl were selected for a wide geographic coverage, as they come from Africa, Asia, Greece and Ionia.Vasari says of the Erythraean Sibyl: "This figure is extraordinarily beautiful owing to the expression of its face, the arrangement of its hair, and the style of its garments, not to mention its bare arms, which are as beautiful as the rest of the body."

Prompt: システィーナ礼拝堂天井画の十二の預言者に関するシビュラを説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

The Sibyls were prophetic women who were resident at shrines or temples throughout the Classical world. These women were similar to Christian prophets in the sense that they were "spokeswomen for the divine oracles" and served as an "mouthpiece of the gods". Furthermore, the Sibyls embodied feminine figures that received messages from the gods and prophesized said messages to the ancient Greeks and Romans who heavily regarded their divinatory practices. Their prophecies predate those of the Christian prophets and were contextually paganistic due to the commonly known beliefs at that time.Authors from antiquity utilized the Greco-Roman Sibyls to legitimize Christianity. The papal court generally regarded antiquity as setting the stage for Christianity. The text Divine Institutes by ctanitus, a Christian author that was an advisor to Emperor Constantine in 280, was one of the first texts composed to legitimize Christianity and convert pagans and gentiles to the religion. In Divine Institutions, ctantius states “Another Sibyl … conveyed the word of God to man and said ‘I am the only god and there is no other.’”, validating monotheism from the written account of a pagan Sibyl. Additionally, the Cumaean Sibyl is quoted by 1st-century BC Roman poet Virgil in his Fourth Eclogue as declaring that "a new progeny of Heaven" would bring about a return of the "Golden Age". Many people during the Renaissance interpreted this as foretelling the birth of Jesus.This association of the Sibyls with Christianity also progresses into Christian worship in the Middle Ages, as they appeared in the Dies Irae tin hymn produced by either the Franciscan or Dominican monastic order. The hymn utilizes the pagan Sybil as a witness to David's lineage to Christ and uses these figures from Greco-Roman antiquity to support the Christian beliefs of the coming of Christ from an era before the prophets. There was an increasing interest in the remains of Rome's pagan past within the Catholic Church; scholars had turned from reading Mediaeval ecclesiastical tin texts to classical tin and the philosophies of the Classical world were studied along with the writings of St Augustine. Thus, the presence of five pagan prophets in the Sistine Chapel is not surprising. Furthermore, this is not the first appearance of Sibyls within a Christian church. Michelangelo's mentor Domenico Ghirlandaio painted Sibyls on the ceiling of Santa Trinita's Sassetti Chapel approximately 20 years prior to the start of the Sistine Chapel ceiling.It is not known why Michelangelo selected the five particular Sibyls that were depicted, given that there were ten possibilities. O'Malley suggests that the four besides the Cumaean Sibyl were selected for a wide geographic coverage, as they come from Africa, Asia, Greece and Ionia.Vasari says of the Erythraean Sibyl: "This figure is extraordinarily beautiful owing to the expression of its face, the arrangement of its hair, and the style of its garments, not to mention its bare arms, which are as beautiful as the rest of the body."

Prompt: システィーナ礼拝堂天井画では、どのように十二の預言者のシビュラが説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

The Sibyls were prophetic women who were resident at shrines or temples throughout the Classical world. These women were similar to Christian prophets in the sense that they were "spokeswomen for the divine oracles" and served as an "mouthpiece of the gods". Furthermore, the Sibyls embodied feminine figures that received messages from the gods and prophesized said messages to the ancient Greeks and Romans who heavily regarded their divinatory practices. Their prophecies predate those of the Christian prophets and were contextually paganistic due to the commonly known beliefs at that time.Authors from antiquity utilized the Greco-Roman Sibyls to legitimize Christianity. The papal court generally regarded antiquity as setting the stage for Christianity. The text Divine Institutes by ctanitus, a Christian author that was an advisor to Emperor Constantine in 280, was one of the first texts composed to legitimize Christianity and convert pagans and gentiles to the religion. In Divine Institutions, ctantius states “Another Sibyl … conveyed the word of God to man and said ‘I am the only god and there is no other.’”, validating monotheism from the written account of a pagan Sibyl. Additionally, the Cumaean Sibyl is quoted by 1st-century BC Roman poet Virgil in his Fourth Eclogue as declaring that "a new progeny of Heaven" would bring about a return of the "Golden Age". Many people during the Renaissance interpreted this as foretelling the birth of Jesus.This association of the Sibyls with Christianity also progresses into Christian worship in the Middle Ages, as they appeared in the Dies Irae tin hymn produced by either the Franciscan or Dominican monastic order. The hymn utilizes the pagan Sybil as a witness to David's lineage to Christ and uses these figures from Greco-Roman antiquity to support the Christian beliefs of the coming of Christ from an era before the prophets. There was an increasing interest in the remains of Rome's pagan past within the Catholic Church; scholars had turned from reading Mediaeval ecclesiastical tin texts to classical tin and the philosophies of the Classical world were studied along with the writings of St Augustine. Thus, the presence of five pagan prophets in the Sistine Chapel is not surprising. Furthermore, this is not the first appearance of Sibyls within a Christian church. Michelangelo's mentor Domenico Ghirlandaio painted Sibyls on the ceiling of Santa Trinita's Sassetti Chapel approximately 20 years prior to the start of the Sistine Chapel ceiling.It is not known why Michelangelo selected the five particular Sibyls that were depicted, given that there were ten possibilities. O'Malley suggests that the four besides the Cumaean Sibyl were selected for a wide geographic coverage, as they come from Africa, Asia, Greece and Ionia.Vasari says of the Erythraean Sibyl: "This figure is extraordinarily beautiful owing to the expression of its face, the arrangement of its hair, and the style of its garments, not to mention its bare arms, which are as beautiful as the rest of the body."

Prompt: システィーナ礼拝堂天井画の十二の預言者におけるシビュラの特徴を説明してください。英語で出力して下さい。


section

ジネーヴラ・デ・ベンチの肖像

type=Oil on panel height_metric=38.1 width_metric=37 metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci . It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

Prompt: ジネーヴラ・デ・ベンチの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

ジネーヴラ・デ・ベンチの肖像

type=Oil on panel height_metric=38.1 width_metric=37 metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci . It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

Prompt: ジネーヴラ・デ・ベンチの肖像の抽象を説明してください。英語で出力して下さい。


section

ジネーヴラ・デ・ベンチの肖像

type=Oil on panel height_metric=38.1 width_metric=37 metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci . It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

Prompt: ジネーヴラ・デ・ベンチの肖像はどのように抽象を説明していますか？英語で出力して下さい。


section

ジネーヴラ・デ・ベンチの肖像

type=Oil on panel height_metric=38.1 width_metric=37 metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci . It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.

Prompt: ジネーヴラ・デ・ベンチの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

ジネーヴラ・デ・ベンチの肖像

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the tin motto  —further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

Prompt: ジネーヴラ・デ・ベンチの肖像に焦点を当てて、その主語を説明してください。英語で出力して下さい。

Bernardo Bembo
Florence
Luigi di Bernardo Niccolini
National Gallery of Art
Susan Dorothea White


section

ジネーヴラ・デ・ベンチの肖像

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the tin motto  —further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

Prompt: ジネーヴラ・デ・ベンチの肖像の主語を説明してください。英語で出力して下さい。

Bernardo Bembo
Florence
Luigi di Bernardo Niccolini
National Gallery of Art
Susan Dorothea White


section

ジネーヴラ・デ・ベンチの肖像

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the tin motto  —further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

Prompt: ジネーヴラ・デ・ベンチの肖像はどのように主語を説明していますか？英語で出力して下さい。

Bernardo Bembo
Florence
Luigi di Bernardo Niccolini
National Gallery of Art
Susan Dorothea White


section

ジネーヴラ・デ・ベンチの肖像

Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the tin motto  —further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto "Virtue and Honor" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.

Prompt: ジネーヴラ・デ・ベンチの肖像に関して、どのように主語が議論されていますか？英語で出力して下さい。

Bernardo Bembo
Florence
Luigi di Bernardo Niccolini
National Gallery of Art
Susan Dorothea White


section

ジネーヴラ・デ・ベンチの肖像

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo ndino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself. According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni. Ginevra's brother Giovanni  was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son. In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty tin sentences signed VINCI, formed with the very same alphabetical letters of the motto  when supplemented with the tin word iuniperus . Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

Prompt: ジネーヴラ・デ・ベンチの肖像に焦点を当てて、その雑学を説明してください。英語で出力して下さい。

Domenico Ghirlandaio
Florence
Giorgio Vasari
Lorenzo de' Medici
Santa Maria Novella


section

ジネーヴラ・デ・ベンチの肖像

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo ndino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself. According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni. Ginevra's brother Giovanni  was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son. In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty tin sentences signed VINCI, formed with the very same alphabetical letters of the motto  when supplemented with the tin word iuniperus . Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

Prompt: ジネーヴラ・デ・ベンチの肖像の雑学を説明してください。英語で出力して下さい。

Domenico Ghirlandaio
Florence
Giorgio Vasari
Lorenzo de' Medici
Santa Maria Novella


section

ジネーヴラ・デ・ベンチの肖像

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo ndino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself. According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni. Ginevra's brother Giovanni  was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son. In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty tin sentences signed VINCI, formed with the very same alphabetical letters of the motto  when supplemented with the tin word iuniperus . Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

Prompt: ジネーヴラ・デ・ベンチの肖像はどのように雑学を説明していますか？英語で出力して下さい。

Domenico Ghirlandaio
Florence
Giorgio Vasari
Lorenzo de' Medici
Santa Maria Novella


section

ジネーヴラ・デ・ベンチの肖像

As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo ndino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself. According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni. Ginevra's brother Giovanni  was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son. In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty tin sentences signed VINCI, formed with the very same alphabetical letters of the motto  when supplemented with the tin word iuniperus . Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.

Prompt: ジネーヴラ・デ・ベンチの肖像に関して、どのように雑学が議論されていますか？英語で出力して下さい。

Domenico Ghirlandaio
Florence
Giorgio Vasari
Lorenzo de' Medici
Santa Maria Novella


section

ジネーヴラ・デ・ベンチの肖像

List of works by Leonardo da Vinci Pietro Bembo, notable son of Bernardo Bembo

Prompt: ジネーヴラ・デ・ベンチの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Bernardo Bembo
Leonardo da Vinci
List of works by Leonardo da Vinci
Pietro Bembo


section

ジネーヴラ・デ・ベンチの肖像

List of works by Leonardo da Vinci Pietro Bembo, notable son of Bernardo Bembo

Prompt: ジネーヴラ・デ・ベンチの肖像の参照を説明してください。英語で出力して下さい。

Bernardo Bembo
Leonardo da Vinci
List of works by Leonardo da Vinci
Pietro Bembo


section

ジネーヴラ・デ・ベンチの肖像

List of works by Leonardo da Vinci Pietro Bembo, notable son of Bernardo Bembo

Prompt: ジネーヴラ・デ・ベンチの肖像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。

Bernardo Bembo
Leonardo da Vinci
List of works by Leonardo da Vinci
Pietro Bembo


section

ジネーヴラ・デ・ベンチの肖像

List of works by Leonardo da Vinci Pietro Bembo, notable son of Bernardo Bembo

Prompt: ジネーヴラ・デ・ベンチの肖像に関して、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。

Bernardo Bembo
Leonardo da Vinci
List of works by Leonardo da Vinci
Pietro Bembo


section

ジネーヴラ・デ・ベンチの肖像

For an unorthodox view on Ginevra de' Benci see:  or the Second Revised Edition of the same book, by Gingko Edizioni, Verona, For an in depth analysis of the "motions of the mind"  of Ginevra de Benci see Glori C, I moti mentali e la biografia di Ginevra de Benci in https://www.academia.edu/41930706/I_moti_mentali_e_la_biografia_di_Ginevra_Benci_Ritrar_listoria_nel_segno_della_psicoanalisi_e_dellarte_contemporanea

Prompt: ジネーヴラ・デ・ベンチの肖像に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

ジネーヴラ・デ・ベンチの肖像

For an unorthodox view on Ginevra de' Benci see:  or the Second Revised Edition of the same book, by Gingko Edizioni, Verona, For an in depth analysis of the "motions of the mind"  of Ginevra de Benci see Glori C, I moti mentali e la biografia di Ginevra de Benci in https://www.academia.edu/41930706/I_moti_mentali_e_la_biografia_di_Ginevra_Benci_Ritrar_listoria_nel_segno_della_psicoanalisi_e_dellarte_contemporanea

Prompt: ジネーヴラ・デ・ベンチの肖像の参考文献を説明してください。英語で出力して下さい。


section

ジネーヴラ・デ・ベンチの肖像

For an unorthodox view on Ginevra de' Benci see:  or the Second Revised Edition of the same book, by Gingko Edizioni, Verona, For an in depth analysis of the "motions of the mind"  of Ginevra de Benci see Glori C, I moti mentali e la biografia di Ginevra de Benci in https://www.academia.edu/41930706/I_moti_mentali_e_la_biografia_di_Ginevra_Benci_Ritrar_listoria_nel_segno_della_psicoanalisi_e_dellarte_contemporanea

Prompt: ジネーヴラ・デ・ベンチの肖像はどのように参考文献を説明していますか？英語で出力して下さい。


section

ジネーヴラ・デ・ベンチの肖像

For an unorthodox view on Ginevra de' Benci see:  or the Second Revised Edition of the same book, by Gingko Edizioni, Verona, For an in depth analysis of the "motions of the mind"  of Ginevra de Benci see Glori C, I moti mentali e la biografia di Ginevra de Benci in https://www.academia.edu/41930706/I_moti_mentali_e_la_biografia_di_Ginevra_Benci_Ritrar_listoria_nel_segno_della_psicoanalisi_e_dellarte_contemporanea

Prompt: ジネーヴラ・デ・ベンチの肖像に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


subsection

ジネーヴラ・デ・ベンチの肖像

Hand, J. O. . National Gallery of Art: Master Paintings from the Collection.  New York: National Gallery of Art, Washington.  . p. 28. Brown, David Alan . Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women. Princeton University Press. .

Prompt: ジネーヴラ・デ・ベンチの肖像の文脈で、情報源と参考文献を説明してください。英語で出力して下さい。


subsection

ジネーヴラ・デ・ベンチの肖像

Hand, J. O. . National Gallery of Art: Master Paintings from the Collection.  New York: National Gallery of Art, Washington.  . p. 28. Brown, David Alan . Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women. Princeton University Press. .

Prompt: ジネーヴラ・デ・ベンチの肖像の参考文献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。


subsection

ジネーヴラ・デ・ベンチの肖像

Hand, J. O. . National Gallery of Art: Master Paintings from the Collection.  New York: National Gallery of Art, Washington.  . p. 28. Brown, David Alan . Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women. Princeton University Press. .

Prompt: ジネーヴラ・デ・ベンチの肖像では、どのように参考文献の情報源が説明されていますか？英語で出力して下さい。


subsection

ジネーヴラ・デ・ベンチの肖像

Hand, J. O. . National Gallery of Art: Master Paintings from the Collection.  New York: National Gallery of Art, Washington.  . p. 28. Brown, David Alan . Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women. Princeton University Press. .

Prompt: ジネーヴラ・デ・ベンチの肖像の参考文献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。


section

蛸と海女

other_language_2 =  other_title_2 =  artist = Hokusai year =  type = Woodblock print material = Paper height_imperial = 7.4 width_imperial = 10.5 height_metric =  width_metric =  city =  museum = }}, also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in  , a three-volume book of  erotica first published in 1814, and has become Hokusai's most famous  design. Playing with themes popular in Japanese art, it depicts a young  diver entwined sexually with a pair of octopuses.

Prompt: 蛸と海女に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

蛸と海女

other_language_2 =  other_title_2 =  artist = Hokusai year =  type = Woodblock print material = Paper height_imperial = 7.4 width_imperial = 10.5 height_metric =  width_metric =  city =  museum = }}, also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in  , a three-volume book of  erotica first published in 1814, and has become Hokusai's most famous  design. Playing with themes popular in Japanese art, it depicts a young  diver entwined sexually with a pair of octopuses.

Prompt: 蛸と海女の抽象を説明してください。英語で出力して下さい。


section

蛸と海女

other_language_2 =  other_title_2 =  artist = Hokusai year =  type = Woodblock print material = Paper height_imperial = 7.4 width_imperial = 10.5 height_metric =  width_metric =  city =  museum = }}, also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in  , a three-volume book of  erotica first published in 1814, and has become Hokusai's most famous  design. Playing with themes popular in Japanese art, it depicts a young  diver entwined sexually with a pair of octopuses.

Prompt: 蛸と海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。


section

蛸と海女

other_language_2 =  other_title_2 =  artist = Hokusai year =  type = Woodblock print material = Paper height_imperial = 7.4 width_imperial = 10.5 height_metric =  width_metric =  city =  museum = }}, also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in  , a three-volume book of  erotica first published in 1814, and has become Hokusai's most famous  design. Playing with themes popular in Japanese art, it depicts a young  diver entwined sexually with a pair of octopuses.

Prompt: 蛸と海女に関して、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。


section

蛸と海女

The Dream of the Fisherman's Wife is the most famous image in , published in three volumes from 1814. The book is a work of   within the ukiyo-e genre. The image depicts a woman, evidently an  , enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual pleasure from the encounter.All designs in the publication are untitled; this design is generally known in Japanese as , translated variously into English. Richard Douglas ne calls it Girl Diver and Octopi; Matthi Forrer calls it Pearl Diver and Two Octopi; and Danielle Talerico calls it Diver and Two Octopi. The open book measures .

Prompt: 蛸と海女に焦点を当てて、その歴史と説明を説明してください。英語で出力して下さい。


section

蛸と海女

The Dream of the Fisherman's Wife is the most famous image in , published in three volumes from 1814. The book is a work of   within the ukiyo-e genre. The image depicts a woman, evidently an  , enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual pleasure from the encounter.All designs in the publication are untitled; this design is generally known in Japanese as , translated variously into English. Richard Douglas ne calls it Girl Diver and Octopi; Matthi Forrer calls it Pearl Diver and Two Octopi; and Danielle Talerico calls it Diver and Two Octopi. The open book measures .

Prompt: 蛸と海女の歴史と説明を説明してください。英語で出力して下さい。


section

蛸と海女

The Dream of the Fisherman's Wife is the most famous image in , published in three volumes from 1814. The book is a work of   within the ukiyo-e genre. The image depicts a woman, evidently an  , enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual pleasure from the encounter.All designs in the publication are untitled; this design is generally known in Japanese as , translated variously into English. Richard Douglas ne calls it Girl Diver and Octopi; Matthi Forrer calls it Pearl Diver and Two Octopi; and Danielle Talerico calls it Diver and Two Octopi. The open book measures .

Prompt: 蛸と海女はどのように歴史と説明を説明していますか？英語で出力して下さい。


section

蛸と海女

The Dream of the Fisherman's Wife is the most famous image in , published in three volumes from 1814. The book is a work of   within the ukiyo-e genre. The image depicts a woman, evidently an  , enveloped in the limbs of two octopuses. The larger of the two mollusks performs cunnilingus on her, while the smaller one, his offspring, assists by fondling the woman's mouth and left nipple. In the text above the image the woman and the creatures express their mutual sexual pleasure from the encounter.All designs in the publication are untitled; this design is generally known in Japanese as , translated variously into English. Richard Douglas ne calls it Girl Diver and Octopi; Matthi Forrer calls it Pearl Diver and Two Octopi; and Danielle Talerico calls it Diver and Two Octopi. The open book measures .

Prompt: 蛸と海女に関して、どのように歴史と説明が議論されていますか？英語で出力して下さい。


section

蛸と海女

The full text, which surrounds the maiden and octopuses, as translated by James Heaton and Toyoshima Mizuho:

Prompt: 蛸と海女に焦点を当てて、その印刷のテキストを説明してください。英語で出力して下さい。


section

蛸と海女

The full text, which surrounds the maiden and octopuses, as translated by James Heaton and Toyoshima Mizuho:

Prompt: 蛸と海女の印刷のテキストを説明してください。英語で出力して下さい。


section

蛸と海女

The full text, which surrounds the maiden and octopuses, as translated by James Heaton and Toyoshima Mizuho:

Prompt: 蛸と海女はどのように印刷のテキストを説明していますか？英語で出力して下さい。


section

蛸と海女

The full text, which surrounds the maiden and octopuses, as translated by James Heaton and Toyoshima Mizuho:

Prompt: 蛸と海女に関して、どのように印刷のテキストが議論されていますか？英語で出力して下さい。


section

蛸と海女

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.The Tamatori story was a popular subject in ukiyo-e art. The artist, Utagawa Kuniyoshi, produced works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend.Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. She notes that these scholars would have seen it apart from the  collection and without understanding the text and visual references, depriving it of its original context. According to Chris Uhlenbeck and Margarita Winkel, "[t]his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."

Prompt: 蛸と海女に焦点を当てて、その解釈を説明してください。英語で出力して下さい。

Edmond de Goncourt
Edo period
Fujiwara clan
Fujiwara no Fuhito
Hokusai
Ryūgū-jō
Ryūjin
Utagawa Kuniyoshi


section

蛸と海女

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.The Tamatori story was a popular subject in ukiyo-e art. The artist, Utagawa Kuniyoshi, produced works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend.Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. She notes that these scholars would have seen it apart from the  collection and without understanding the text and visual references, depriving it of its original context. According to Chris Uhlenbeck and Margarita Winkel, "[t]his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."

Prompt: 蛸と海女の解釈を説明してください。英語で出力して下さい。

Edmond de Goncourt
Edo period
Fujiwara clan
Fujiwara no Fuhito
Hokusai
Ryūgū-jō
Ryūjin
Utagawa Kuniyoshi


section

蛸と海女

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.The Tamatori story was a popular subject in ukiyo-e art. The artist, Utagawa Kuniyoshi, produced works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend.Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. She notes that these scholars would have seen it apart from the  collection and without understanding the text and visual references, depriving it of its original context. According to Chris Uhlenbeck and Margarita Winkel, "[t]his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."

Prompt: 蛸と海女はどのように解釈を説明していますか？英語で出力して下さい。

Edmond de Goncourt
Edo period
Fujiwara clan
Fujiwara no Fuhito
Hokusai
Ryūgū-jō
Ryūjin
Utagawa Kuniyoshi


section

蛸と海女

Scholar Danielle Talerico notes that the image would have recalled to the minds of contemporary viewers the story of Princess Tamatori, highly popular in the Edo period. In this story, Tamatori is a modest shell diver who marries Fujiwara no Fuhito of the Fujiwara clan, who is searching for a pearl stolen from his family by Ryūjin, the dragon god of the sea. Vowing to help, Tamatori dives down to Ryūjin's undersea palace of Ryūgū-jō, and is pursued by the god and his army of sea creatures, including octopuses. She cuts open her own breast and places the jewel inside; this allows her to swim faster and escape, but she dies from her wound soon after reaching the surface.The Tamatori story was a popular subject in ukiyo-e art. The artist, Utagawa Kuniyoshi, produced works based on it, which often include octopuses among the creatures being evaded by the bare-breasted diver. In the text above Hokusai's image, the big octopus says he will bring the girl to Ryūjin's undersea palace, strengthening the connection to the Tamatori legend.Talerico notes that earlier Western critics such as Edmond de Goncourt and Jack Hillier interpreted the work as a rape scene. She notes that these scholars would have seen it apart from the  collection and without understanding the text and visual references, depriving it of its original context. According to Chris Uhlenbeck and Margarita Winkel, "[t]his print is testimony to how our interpretation of an image can be distorted when seen in isolation and without understanding the text."

Prompt: 蛸と海女に関して、どのように解釈が議論されていますか？英語で出力して下さい。

Edmond de Goncourt
Edo period
Fujiwara clan
Fujiwara no Fuhito
Hokusai
Ryūgū-jō
Ryūjin
Utagawa Kuniyoshi


section

蛸と海女

The image is often cited as a forerunner of tentacle erotica, a motif that has been popular in modern Japanese animation and manga since the late 20th century, popularized by author Toshio Maeda. Modern tentacle erotica similarly depicts sex between women and tentacled beasts; the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese society following World War II, which was in turn reflective of existing, underlying currents of cultural trauma. Scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise", citing Hokusai's print an early exemplar of such a tradition. Picasso also later fully painted works that were directly influenced by the woodblock print, such as 1932's Reclining Nude, where the woman in pleasure is also the octopus, capable of pleasuring herself. In 2003, a derivative work by Australian painter David ity, titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving complaints, police investigated and decided it did not break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.The so-called    in Pietro Mascagni's opera Iris , on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"The scene is recreated in a "surreal, slightly horrific form" in Kaneto Shindo's 1981 fictionalized Hokusai biopic Edo Porn. The print is featured briefly in Park Chan-wook's film The Handmaiden and is intended to illustrate the perverted nature of Uncle Kouzuki's oppression of dy Hideko to Sook-Hee. The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her storyline of becoming comfortable as an executive.The print has been cited by Isabel Coixet as influential in a sexual scene in her film Elisa & Marcela, as a "non-masculine sexual reference".

Prompt: 蛸と海女に焦点を当てて、その影響を説明してください。英語で出力して下さい。

Edo Porn
Elisa & Marcela
Hokusai
Isabel Coixet
Kaneto Shindo
Luigi Illica
Mad Men
Masami Teraoka
Park Chan-wook
Peggy Olson
Pietro Mascagni
Roger Sterling
The Handmaiden
Toshio Maeda
World War II


section

蛸と海女

The image is often cited as a forerunner of tentacle erotica, a motif that has been popular in modern Japanese animation and manga since the late 20th century, popularized by author Toshio Maeda. Modern tentacle erotica similarly depicts sex between women and tentacled beasts; the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese society following World War II, which was in turn reflective of existing, underlying currents of cultural trauma. Scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise", citing Hokusai's print an early exemplar of such a tradition. Picasso also later fully painted works that were directly influenced by the woodblock print, such as 1932's Reclining Nude, where the woman in pleasure is also the octopus, capable of pleasuring herself. In 2003, a derivative work by Australian painter David ity, titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving complaints, police investigated and decided it did not break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.The so-called    in Pietro Mascagni's opera Iris , on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"The scene is recreated in a "surreal, slightly horrific form" in Kaneto Shindo's 1981 fictionalized Hokusai biopic Edo Porn. The print is featured briefly in Park Chan-wook's film The Handmaiden and is intended to illustrate the perverted nature of Uncle Kouzuki's oppression of dy Hideko to Sook-Hee. The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her storyline of becoming comfortable as an executive.The print has been cited by Isabel Coixet as influential in a sexual scene in her film Elisa & Marcela, as a "non-masculine sexual reference".

Prompt: 蛸と海女の影響を説明してください。英語で出力して下さい。

Edo Porn
Elisa & Marcela
Hokusai
Isabel Coixet
Kaneto Shindo
Luigi Illica
Mad Men
Masami Teraoka
Park Chan-wook
Peggy Olson
Pietro Mascagni
Roger Sterling
The Handmaiden
Toshio Maeda
World War II


section

蛸と海女

The image is often cited as a forerunner of tentacle erotica, a motif that has been popular in modern Japanese animation and manga since the late 20th century, popularized by author Toshio Maeda. Modern tentacle erotica similarly depicts sex between women and tentacled beasts; the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese society following World War II, which was in turn reflective of existing, underlying currents of cultural trauma. Scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise", citing Hokusai's print an early exemplar of such a tradition. Picasso also later fully painted works that were directly influenced by the woodblock print, such as 1932's Reclining Nude, where the woman in pleasure is also the octopus, capable of pleasuring herself. In 2003, a derivative work by Australian painter David ity, titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving complaints, police investigated and decided it did not break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.The so-called    in Pietro Mascagni's opera Iris , on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"The scene is recreated in a "surreal, slightly horrific form" in Kaneto Shindo's 1981 fictionalized Hokusai biopic Edo Porn. The print is featured briefly in Park Chan-wook's film The Handmaiden and is intended to illustrate the perverted nature of Uncle Kouzuki's oppression of dy Hideko to Sook-Hee. The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her storyline of becoming comfortable as an executive.The print has been cited by Isabel Coixet as influential in a sexual scene in her film Elisa & Marcela, as a "non-masculine sexual reference".

Prompt: 蛸と海女はどのように影響を説明していますか？英語で出力して下さい。

Edo Porn
Elisa & Marcela
Hokusai
Isabel Coixet
Kaneto Shindo
Luigi Illica
Mad Men
Masami Teraoka
Park Chan-wook
Peggy Olson
Pietro Mascagni
Roger Sterling
The Handmaiden
Toshio Maeda
World War II


section

蛸と海女

The image is often cited as a forerunner of tentacle erotica, a motif that has been popular in modern Japanese animation and manga since the late 20th century, popularized by author Toshio Maeda. Modern tentacle erotica similarly depicts sex between women and tentacled beasts; the sex in modern depictions is typically forced, as opposed to Hokusai's mutually pleasurable interaction. Psychologist and critic Jerry S. Piven is skeptical that Hokusai's playful image could account for the violent depictions in modern media, arguing that these are instead a product of the turmoil experienced throughout Japanese society following World War II, which was in turn reflective of existing, underlying currents of cultural trauma. Scholar Holger Briel argues that "only in a society that already has a predilection for monsters and is used to interacting with octopods such images might arise", citing Hokusai's print an early exemplar of such a tradition. Picasso also later fully painted works that were directly influenced by the woodblock print, such as 1932's Reclining Nude, where the woman in pleasure is also the octopus, capable of pleasuring herself. In 2003, a derivative work by Australian painter David ity, titled The Dream of the Fisherman's Wife, sparked a minor obscenity controversy when it was shown at a gallery in Melbourne; after receiving complaints, police investigated and decided it did not break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring "pearl diver" character, being pleasured by cephalopods as a symbol of female sexual power.The so-called    in Pietro Mascagni's opera Iris , on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling young woman and killing her. She recalls a Buddhist priest explaining: "That octopus is Pleasure... That octopus is Death!"The scene is recreated in a "surreal, slightly horrific form" in Kaneto Shindo's 1981 fictionalized Hokusai biopic Edo Porn. The print is featured briefly in Park Chan-wook's film The Handmaiden and is intended to illustrate the perverted nature of Uncle Kouzuki's oppression of dy Hideko to Sook-Hee. The print is given more air time in several episodes of the television series Mad Men, first on the office wall of a senior CEO, perhaps as a symbol of "monstrous alpha male power"; the print is given to Peggy Olson by Roger Sterling, Jr. near the series' end. Olson decides to hang the print in her office, part of the culmination of her storyline of becoming comfortable as an executive.The print has been cited by Isabel Coixet as influential in a sexual scene in her film Elisa & Marcela, as a "non-masculine sexual reference".

Prompt: 蛸と海女に関して、どのように影響が議論されていますか？英語で出力して下さい。

Edo Porn
Elisa & Marcela
Hokusai
Isabel Coixet
Kaneto Shindo
Luigi Illica
Mad Men
Masami Teraoka
Park Chan-wook
Peggy Olson
Pietro Mascagni
Roger Sterling
The Handmaiden
Toshio Maeda
World War II


section

蛸と海女

Prompt: 蛸と海女に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

蛸と海女

Prompt: 蛸と海女の参考文献を説明してください。英語で出力して下さい。


section

蛸と海女

Prompt: 蛸と海女はどのように参考文献を説明していますか？英語で出力して下さい。


section

蛸と海女

Prompt: 蛸と海女に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

カレーの市民

width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

Prompt: カレーの市民に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Auguste Rodin
Calais
English Channel
Hundred Years' War


section

カレーの市民

width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

Prompt: カレーの市民の抽象を説明してください。英語で出力して下さい。

Auguste Rodin
Calais
English Channel
Hundred Years' War


section

カレーの市民

width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

Prompt: カレーの市民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。

Auguste Rodin
Calais
English Channel
Hundred Years' War


section

カレーの市民

width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

Prompt: カレーの市民に関して、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。

Auguste Rodin
Calais
English Channel
Hundred Years' War


section

カレーの市民

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

Prompt: カレーの市民に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Battle of Crécy
Calais
Eustache de Saint Pierre
Jean Froissart
Philip VI of France
Philippa of Hainault


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カレーの市民

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

Prompt: カレーの市民の歴史を説明してください。英語で出力して下さい。

Battle of Crécy
Calais
Eustache de Saint Pierre
Jean Froissart
Philip VI of France
Philippa of Hainault


section

カレーの市民

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

Prompt: カレーの市民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。

Battle of Crécy
Calais
Eustache de Saint Pierre
Jean Froissart
Philip VI of France
Philippa of Hainault


section

カレーの市民

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

Prompt: カレーの市民に関して、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。

Battle of Crécy
Calais
Eustache de Saint Pierre
Jean Froissart
Philip VI of France
Philippa of Hainault


section

カレーの市民

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

Prompt: カレーの市民に焦点を当てて、その作曲を説明してください。英語で出力して下さい。

Auguste Clésinger
Calais
David d'Angers
Eustache de Saint Pierre
Franco-Prussian War
Parc Richelieu


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カレーの市民

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

Prompt: カレーの市民の作曲を説明してください。英語で出力して下さい。

Auguste Clésinger
Calais
David d'Angers
Eustache de Saint Pierre
Franco-Prussian War
Parc Richelieu


section

カレーの市民

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

Prompt: カレーの市民はどのように作曲を説明していますか？英語で出力して下さい。

Auguste Clésinger
Calais
David d'Angers
Eustache de Saint Pierre
Franco-Prussian War
Parc Richelieu


section

カレーの市民

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

Prompt: カレーの市民に関して、どのように作曲が議論されていますか？英語で出力して下さい。

Auguste Clésinger
Calais
David d'Angers
Eustache de Saint Pierre
Franco-Prussian War
Parc Richelieu


section

カレーの市民

The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire

Prompt: カレーの市民に焦点を当てて、その描かれた人物を説明してください。英語で出力して下さい。

Andrieu d'Andres
Eustache de Saint Pierre
Jacques de Wissant
Jean d'Aire
Jean de Fiennes


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カレーの市民

The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire

Prompt: カレーの市民の描かれた人物を説明してください。英語で出力して下さい。

Andrieu d'Andres
Eustache de Saint Pierre
Jacques de Wissant
Jean d'Aire
Jean de Fiennes


section

カレーの市民

The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire

Prompt: カレーの市民はどのように描かれた人物を説明していますか？英語で出力して下さい。

Andrieu d'Andres
Eustache de Saint Pierre
Jacques de Wissant
Jean d'Aire
Jean de Fiennes


section

カレーの市民

The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire

Prompt: カレーの市民に関して、どのように描かれた人物が議論されていますか？英語で出力して下さい。

Andrieu d'Andres
Eustache de Saint Pierre
Jacques de Wissant
Jean d'Aire
Jean de Fiennes


section

カレーの市民

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  "The man with the key" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

Prompt: カレーの市民に焦点を当てて、そのキャストを説明してください。英語で出力して下さい。

Basel
Calais
Cantor Fitzgerald
Davidson College
Hirshhorn Museum and Sculpture Garden
Jean d'Aire
Jean de Fiennes
Los Angeles County Museum of Art
Maquette
Metropolitan Museum of Art
Morlanwelz
Musée Rodin
Musée royal de Mariemont
National Museum of Western Art
Norton Simon Museum
Pasadena, California
Philadelphia
Rodin Museum
Seoul
Shizuoka Prefectural Museum of Art
Stanford University


section

カレーの市民

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  "The man with the key" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

Prompt: カレーの市民のキャストを説明してください。英語で出力して下さい。

Basel
Calais
Cantor Fitzgerald
Davidson College
Hirshhorn Museum and Sculpture Garden
Jean d'Aire
Jean de Fiennes
Los Angeles County Museum of Art
Maquette
Metropolitan Museum of Art
Morlanwelz
Musée Rodin
Musée royal de Mariemont
National Museum of Western Art
Norton Simon Museum
Pasadena, California
Philadelphia
Rodin Museum
Seoul
Shizuoka Prefectural Museum of Art
Stanford University


section

カレーの市民

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  "The man with the key" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

Prompt: カレーの市民はどのようにキャストを説明していますか？英語で出力して下さい。

Basel
Calais
Cantor Fitzgerald
Davidson College
Hirshhorn Museum and Sculpture Garden
Jean d'Aire
Jean de Fiennes
Los Angeles County Museum of Art
Maquette
Metropolitan Museum of Art
Morlanwelz
Musée Rodin
Musée royal de Mariemont
National Museum of Western Art
Norton Simon Museum
Pasadena, California
Philadelphia
Rodin Museum
Seoul
Shizuoka Prefectural Museum of Art
Stanford University


section

カレーの市民

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  "The man with the key" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

Prompt: カレーの市民に関して、どのようにキャストが議論されていますか？英語で出力して下さい。

Basel
Calais
Cantor Fitzgerald
Davidson College
Hirshhorn Museum and Sculpture Garden
Jean d'Aire
Jean de Fiennes
Los Angeles County Museum of Art
Maquette
Metropolitan Museum of Art
Morlanwelz
Musée Rodin
Musée royal de Mariemont
National Museum of Western Art
Norton Simon Museum
Pasadena, California
Philadelphia
Rodin Museum
Seoul
Shizuoka Prefectural Museum of Art
Stanford University


section

カレーの市民

Prompt: カレーの市民に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Auguste Rodin
List of sculptures by Auguste Rodin


section

カレーの市民

Prompt: カレーの市民の参照を説明してください。英語で出力して下さい。

Auguste Rodin
List of sculptures by Auguste Rodin


section

カレーの市民

Prompt: カレーの市民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。

Auguste Rodin
List of sculptures by Auguste Rodin


section

カレーの市民

Prompt: カレーの市民に関して、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。

Auguste Rodin
List of sculptures by Auguste Rodin


section

カレーの市民

Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .

Prompt: カレーの市民に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

カレーの市民

Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .

Prompt: カレーの市民の参考文献を説明してください。英語で出力して下さい。


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カレーの市民

Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .

Prompt: カレーの市民はどのように参考文献を説明していますか？英語で出力して下さい。


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カレーの市民

Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .

Prompt: カレーの市民に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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カレーの市民

Prompt: カレーの市民に焦点を当てて、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。


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カレーの市民

Prompt: カレーの市民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

カレーの市民

Prompt: カレーの市民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

カレーの市民

Prompt: カレーの市民に関して、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。


section

カレーの市民

Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>

Prompt: カレーの市民に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


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カレーの市民

Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>

Prompt: カレーの市民の外部リンクを説明してください。英語で出力して下さい。


section

カレーの市民

Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>

Prompt: カレーの市民はどのように外部リンクを説明していますか？英語で出力して下さい。


section

カレーの市民

Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>

Prompt: カレーの市民に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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乾草の車

width_imperial=  73 metric_unit=     cm imperial_unit=   in city=            London museum=          National Gallery}}The Hay Wain – originally titled ndscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings. Constable originally exhibited the finished work with the title ndscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.

Prompt: 乾草の車に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Essex
John Constable
London
National Gallery
Suffolk


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乾草の車

width_imperial=  73 metric_unit=     cm imperial_unit=   in city=            London museum=          National Gallery}}The Hay Wain – originally titled ndscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings. Constable originally exhibited the finished work with the title ndscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.

Prompt: 乾草の車の抽象を説明してください。英語で出力して下さい。

Essex
John Constable
London
National Gallery
Suffolk


section

乾草の車

width_imperial=  73 metric_unit=     cm imperial_unit=   in city=            London museum=          National Gallery}}The Hay Wain – originally titled ndscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings. Constable originally exhibited the finished work with the title ndscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.

Prompt: 乾草の車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。

Essex
John Constable
London
National Gallery
Suffolk


section

乾草の車

width_imperial=  73 metric_unit=     cm imperial_unit=   in city=            London museum=          National Gallery}}The Hay Wain – originally titled ndscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings. Constable originally exhibited the finished work with the title ndscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.

Prompt: 乾草の車に関して、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。

Essex
John Constable
London
National Gallery
Suffolk


section

乾草の車

Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbour, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage still survives practically unaltered, but none of the trees in the painting exist today.Although The Hay Wain is revered today as one of the greatest British paintings, when it was originally exhibited at the Royal Academy in 1821 , it failed to find a buyer.It was considerably better received in France where it was praised by Théodore Géricault. The painting caused a sensation when it was exhibited, along with View on the Stour near Dedham and Yarmouth Jetty, at the 1824 Paris Salon . In that exhibition, The Hay Wain was singled out for a gold medal awarded by Charles X of France, a cast of which is incorporated into the picture's frame. The works by Constable in the exhibition inspired a new generation of French painters, including Eugène Delacroix. The French writer Stendhal, who visited the exhibition, wrote: "We have never seen anything like these pictures before. It is their truthfulness that is so striking." On the death of his friend Mr. Young, Vaughan bought the painting from the former's estate; in 1886, he presented it to the National Gallery in London, where it still hangs today. In his will, Vaughan bequeathed the full-scale oil sketch for The Hay Wain, made with a palette knife, to the South Kensington Museum .The Hay Wain was voted the second most popular painting in any British gallery, second only to Turner's Fighting Temeraire, in a 2005 poll organised by BBC Radio 4's Today programme.A study produced by the charity Art History in schools suggests that the waggon has stopped in the river to allow the horses to drink and to cool down, but also to cool the waggon's wheels. The hot weather prevailing at the time of the harvest would cause the wooden wheels to shrink while the iron rims around them would expand, leading the wheels to wobble. Cooling the rims in the river addressed the problem. It notes that such details of agricultural life would have been well known to Constable. On 28 June 2013, a protester, reported to be connected with Fathers 4 Justice, glued a photograph of a young boy to the painting while it was on display at the National Gallery. The work was not permanently damaged. On 4 July 2022, two Just Stop Oil protestors attached their own modified "apocalyptic vision of the future" version of the painting to the original and glued themselves to the frame. The National Gallery said the surface varnish of the painting and its frame suffered minor damage.

Prompt: 乾草の車に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

BBC Radio 4
Charles X of France
Eugène Delacroix
Fathers 4 Justice
Flatford
Flatford Mill
Just Stop Oil
London
National Gallery
Stendhal
Théodore Géricault
Willy Lott's Cottage


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乾草の車

Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbour, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage still survives practically unaltered, but none of the trees in the painting exist today.Although The Hay Wain is revered today as one of the greatest British paintings, when it was originally exhibited at the Royal Academy in 1821 , it failed to find a buyer.It was considerably better received in France where it was praised by Théodore Géricault. The painting caused a sensation when it was exhibited, along with View on the Stour near Dedham and Yarmouth Jetty, at the 1824 Paris Salon . In that exhibition, The Hay Wain was singled out for a gold medal awarded by Charles X of France, a cast of which is incorporated into the picture's frame. The works by Constable in the exhibition inspired a new generation of French painters, including Eugène Delacroix. The French writer Stendhal, who visited the exhibition, wrote: "We have never seen anything like these pictures before. It is their truthfulness that is so striking." On the death of his friend Mr. Young, Vaughan bought the painting from the former's estate; in 1886, he presented it to the National Gallery in London, where it still hangs today. In his will, Vaughan bequeathed the full-scale oil sketch for The Hay Wain, made with a palette knife, to the South Kensington Museum .The Hay Wain was voted the second most popular painting in any British gallery, second only to Turner's Fighting Temeraire, in a 2005 poll organised by BBC Radio 4's Today programme.A study produced by the charity Art History in schools suggests that the waggon has stopped in the river to allow the horses to drink and to cool down, but also to cool the waggon's wheels. The hot weather prevailing at the time of the harvest would cause the wooden wheels to shrink while the iron rims around them would expand, leading the wheels to wobble. Cooling the rims in the river addressed the problem. It notes that such details of agricultural life would have been well known to Constable. On 28 June 2013, a protester, reported to be connected with Fathers 4 Justice, glued a photograph of a young boy to the painting while it was on display at the National Gallery. The work was not permanently damaged. On 4 July 2022, two Just Stop Oil protestors attached their own modified "apocalyptic vision of the future" version of the painting to the original and glued themselves to the frame. The National Gallery said the surface varnish of the painting and its frame suffered minor damage.

Prompt: 乾草の車の歴史を説明してください。英語で出力して下さい。

BBC Radio 4
Charles X of France
Eugène Delacroix
Fathers 4 Justice
Flatford
Flatford Mill
Just Stop Oil
London
National Gallery
Stendhal
Théodore Géricault
Willy Lott's Cottage


section

乾草の車

Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbour, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage still survives practically unaltered, but none of the trees in the painting exist today.Although The Hay Wain is revered today as one of the greatest British paintings, when it was originally exhibited at the Royal Academy in 1821 , it failed to find a buyer.It was considerably better received in France where it was praised by Théodore Géricault. The painting caused a sensation when it was exhibited, along with View on the Stour near Dedham and Yarmouth Jetty, at the 1824 Paris Salon . In that exhibition, The Hay Wain was singled out for a gold medal awarded by Charles X of France, a cast of which is incorporated into the picture's frame. The works by Constable in the exhibition inspired a new generation of French painters, including Eugène Delacroix. The French writer Stendhal, who visited the exhibition, wrote: "We have never seen anything like these pictures before. It is their truthfulness that is so striking." On the death of his friend Mr. Young, Vaughan bought the painting from the former's estate; in 1886, he presented it to the National Gallery in London, where it still hangs today. In his will, Vaughan bequeathed the full-scale oil sketch for The Hay Wain, made with a palette knife, to the South Kensington Museum .The Hay Wain was voted the second most popular painting in any British gallery, second only to Turner's Fighting Temeraire, in a 2005 poll organised by BBC Radio 4's Today programme.A study produced by the charity Art History in schools suggests that the waggon has stopped in the river to allow the horses to drink and to cool down, but also to cool the waggon's wheels. The hot weather prevailing at the time of the harvest would cause the wooden wheels to shrink while the iron rims around them would expand, leading the wheels to wobble. Cooling the rims in the river addressed the problem. It notes that such details of agricultural life would have been well known to Constable. On 28 June 2013, a protester, reported to be connected with Fathers 4 Justice, glued a photograph of a young boy to the painting while it was on display at the National Gallery. The work was not permanently damaged. On 4 July 2022, two Just Stop Oil protestors attached their own modified "apocalyptic vision of the future" version of the painting to the original and glued themselves to the frame. The National Gallery said the surface varnish of the painting and its frame suffered minor damage.

Prompt: 乾草の車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。

BBC Radio 4
Charles X of France
Eugène Delacroix
Fathers 4 Justice
Flatford
Flatford Mill
Just Stop Oil
London
National Gallery
Stendhal
Théodore Géricault
Willy Lott's Cottage


section

乾草の車

Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbour, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage still survives practically unaltered, but none of the trees in the painting exist today.Although The Hay Wain is revered today as one of the greatest British paintings, when it was originally exhibited at the Royal Academy in 1821 , it failed to find a buyer.It was considerably better received in France where it was praised by Théodore Géricault. The painting caused a sensation when it was exhibited, along with View on the Stour near Dedham and Yarmouth Jetty, at the 1824 Paris Salon . In that exhibition, The Hay Wain was singled out for a gold medal awarded by Charles X of France, a cast of which is incorporated into the picture's frame. The works by Constable in the exhibition inspired a new generation of French painters, including Eugène Delacroix. The French writer Stendhal, who visited the exhibition, wrote: "We have never seen anything like these pictures before. It is their truthfulness that is so striking." On the death of his friend Mr. Young, Vaughan bought the painting from the former's estate; in 1886, he presented it to the National Gallery in London, where it still hangs today. In his will, Vaughan bequeathed the full-scale oil sketch for The Hay Wain, made with a palette knife, to the South Kensington Museum .The Hay Wain was voted the second most popular painting in any British gallery, second only to Turner's Fighting Temeraire, in a 2005 poll organised by BBC Radio 4's Today programme.A study produced by the charity Art History in schools suggests that the waggon has stopped in the river to allow the horses to drink and to cool down, but also to cool the waggon's wheels. The hot weather prevailing at the time of the harvest would cause the wooden wheels to shrink while the iron rims around them would expand, leading the wheels to wobble. Cooling the rims in the river addressed the problem. It notes that such details of agricultural life would have been well known to Constable. On 28 June 2013, a protester, reported to be connected with Fathers 4 Justice, glued a photograph of a young boy to the painting while it was on display at the National Gallery. The work was not permanently damaged. On 4 July 2022, two Just Stop Oil protestors attached their own modified "apocalyptic vision of the future" version of the painting to the original and glued themselves to the frame. The National Gallery said the surface varnish of the painting and its frame suffered minor damage.

Prompt: 乾草の車に関して、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。

BBC Radio 4
Charles X of France
Eugène Delacroix
Fathers 4 Justice
Flatford
Flatford Mill
Just Stop Oil
London
National Gallery
Stendhal
Théodore Géricault
Willy Lott's Cottage


section

乾草の車

Prompt: 乾草の車に焦点を当てて、その参照を説明してください。英語で出力して下さい。

John Constable
List of paintings by John Constable


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乾草の車

Prompt: 乾草の車の参照を説明してください。英語で出力して下さい。

John Constable
List of paintings by John Constable


section

乾草の車

Prompt: 乾草の車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。

John Constable
List of paintings by John Constable


section

乾草の車

Prompt: 乾草の車に関して、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。

John Constable
List of paintings by John Constable


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ジャガイモを食べる人々

F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

Prompt: ジャガイモを食べる人々に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Kröller-Müller Museum
Museum of Modern Art
Nuenen
Van Gogh Museum
Vincent van Gogh


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ジャガイモを食べる人々

F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

Prompt: ジャガイモを食べる人々の抽象を説明してください。英語で出力して下さい。

Kröller-Müller Museum
Museum of Modern Art
Nuenen
Van Gogh Museum
Vincent van Gogh