section

聖家族

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth . Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously  unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group . Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

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

Florence
Holy Family
John the Baptist
Michelangelo
John the Baptist


section

聖家族

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth . Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously  unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group . Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

Prompt: 聖家族の説明を説明してください。英語で出力して下さい。

Florence
Holy Family
John the Baptist
Michelangelo
John the Baptist


section

聖家族

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth . Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously  unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group . Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

Prompt: 聖家族はどのように説明を説明していますか？英語で出力して下さい。

Florence
Holy Family
John the Baptist
Michelangelo
John the Baptist


section

聖家族

Mary is the most prominent figure in the composition, taking up much of the center of the image. She sits directly on the ground without a cushion between herself and the grass, to better communicate the theme of her relationship to the earth . Joseph is positioned higher in the image than Mary, although this is an unusual feature in compositions of the Holy Family. Mary is seated between his legs, as if he is protecting her, his great legs forming a kind of de facto throne. There is some debate as to whether Mary is receiving the Child from Joseph or vice versa.  Saint John the Baptist, the patron saint of Florence, is very commonly included in Florentine works depicting the Madonna and Child. He is in the middle-ground of the painting, between the Holy Family and the background. The scene appears to be a rural one, with the Holy Family enjoying themselves on the grass and separated from the curiously  unrelated group at the back by a low wall.The painting is still in its original frame, one that Michelangelo might have influenced or helped design. The frame is ornately carved and rather unusual for the five heads it contains which protrude three-dimensionally into space. Similar to the nudes of the background, the meanings of these heads has been the subject of speculation. The frame also contains carvings of crescent moons, stars, vegetation, and lions' heads. These symbols are, perhaps, references to the Doni and Strozzi families, taken from each one's coat of arms. As depicted on the frame, "the moons are bound together with ribbons that interlock with the lions", possibly referring to the marriage of the two families. The background figures are five nudes, whose meaning and function are subject to much speculation and debate. Because they are much closer to us, the viewers, the Holy Family is much larger than the nudes in the background, a device to aid the illusion of deep space in a two-dimensional image. Behind Saint John the Baptist is a semi-circular ridge, against which the Sistine ignudi are leaning, or upon which they are sitting. This semi-circle reflects or mirrors the circular shape of the painting itself and acts as a foil to the vertical nature of the principal group . Mary and Joseph gaze at Christ, but none of the background nudes looks directly at him. The far background contains a mountainous landscape rendered in atmospheric perspective.

Prompt: 聖家族に関して、どのように説明が議論されていますか？英語で出力して下さい。

Florence
Holy Family
John the Baptist
Michelangelo
John the Baptist


section

聖家族

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment , the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

Prompt: 聖家族に焦点を当てて、その技術を説明してください。英語で出力して下さい。

Azurite
Manchester Madonna
Michelangelo
Sistine Chapel
Verdigris


section

聖家族

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment , the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

Prompt: 聖家族の技術を説明してください。英語で出力して下さい。

Azurite
Manchester Madonna
Michelangelo
Sistine Chapel
Verdigris


section

聖家族

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment , the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

Prompt: 聖家族はどのように技術を説明していますか？英語で出力して下さい。

Azurite
Manchester Madonna
Michelangelo
Sistine Chapel
Verdigris


section

聖家族

The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants; and, unlike his Manchester Madonna and Entombment , the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes. The folds of the drapery are sharply modelled, and the modelling of the figures is distinctly sculptural, suggesting they are carved in medium marble. By applying the pigment in a certain way, Michelangelo created an "unfocused" effect in the background and focused detail in the foreground. The most vibrant color is located within the Virgin's garments, signifying her importance within the image. The masculinity of Mary could be explained by Michelangelo's use of male models for female figures, as was done for the Sistine Chapel.Michelangelo used a limited palette of pigments comprising Lead White, Azurite, Verdigris and a few others. He avoided ochres and used very little vermilion.

Prompt: 聖家族に関して、どのように技術が議論されていますか？英語で出力して下さい。

Azurite
Manchester Madonna
Michelangelo
Sistine Chapel
Verdigris


section

聖家族

The composition is, most likely, partially influenced by the cartoon  for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the ocoön .Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

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

Florence
Holy Family
Leonardo da Vinci
Michelangelo
Renaissance
Saint Joseph


section

聖家族

The composition is, most likely, partially influenced by the cartoon  for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the ocoön .Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

Prompt: 聖家族の影響を説明してください。英語で出力して下さい。

Florence
Holy Family
Leonardo da Vinci
Michelangelo
Renaissance
Saint Joseph


section

聖家族

The composition is, most likely, partially influenced by the cartoon  for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the ocoön .Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

Prompt: 聖家族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。

Florence
Holy Family
Leonardo da Vinci
Michelangelo
Renaissance
Saint Joseph


section

聖家族

The composition is, most likely, partially influenced by the cartoon  for Leonardo da Vinci's The Virgin and Child with St. Anne. Michelangelo's Holy Family forms a tight, separated group in the centre foreground of the image, with the Virgin's figure constructing a typical Renaissance pyramid or triangle. Michelangelo saw the drawing in 1501 while in Florence working on the David.  Michelangelo probably knew of the work and its ideas, and he wanted to incorporate those ideas into his own work. Signorelli's Madonna similarly uses a tondo form, depicts nude male figures in the background, and displays the Virgin sitting directly on the earth. The pose of the nude figure in the background immediately behind Saint Joseph, to our right, appears to have been influenced by the twisting contortions of the figures captured by the serpent in the ocoön .Furthermore, the inclusion of the five protruding heads in the paintings frame is often seen as a reference to a similar motif found on Ghiberti's Porta del Paradiso, the bronze doors of the Florence Baptistry which Michelangelo is known to have greatly admired.

Prompt: 聖家族に関して、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。

Florence
Holy Family
Leonardo da Vinci
Michelangelo
Renaissance
Saint Joseph


section

聖家族

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

Prompt: 聖家族に焦点を当てて、その植物象徴を説明してください。英語で出力して下さい。

Heaven
John the Baptist
Michelangelo
Rabanus Maurus
John the Baptist
Trinity


section

聖家族

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

Prompt: 聖家族の植物象徴を説明してください。英語で出力して下さい。

Heaven
John the Baptist
Michelangelo
Rabanus Maurus
John the Baptist
Trinity


section

聖家族

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

Prompt: 聖家族はどのように植物象徴を説明していますか？英語で出力して下さい。

Heaven
John the Baptist
Michelangelo
Rabanus Maurus
John the Baptist
Trinity


section

聖家族

The plant in front of John the Baptist has aspects of both hyssop and cornflower, yet is most likely a hyssop because it grows from a wall. Cornflower is an attribute of Christ and symbolizes Heaven while hyssop symbolizes both the humility of Christ and baptism. There is a citron tree in the background, which represents the Cedar of Lebanon. Michelangelo uses the hyssop and tree as a visual representation of a quote by Rabanus Maurus, "From the Cedar of Lebanon to the hyssop which grows on a stony wall we have an explanation of the Divinity which Christ has in his Father and of the humanity that he derives from the Virgin Mary." The clover in the foreground represents the Trinity and salvation. The anemone plant represents the Trinity and the Passion of Christ.

Prompt: 聖家族に関して、どのように植物象徴が議論されていますか？英語で出力して下さい。

Heaven
John the Baptist
Michelangelo
Rabanus Maurus
John the Baptist
Trinity


section

聖家族

thumbnailVisitors observing Doni Tondo in Uffizi GalleryThere is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background. Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni . Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer. One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David.  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry  – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

Prompt: 聖家族に焦点を当てて、その学術理論を説明してください。英語で出力して下さい。

Baptism
Florentine Baptistry
Giorgio Vasari
Holy Family
John the Baptist
Michelangelo
Mirella Levi D'Ancona
John the Baptist
Trinity
Uffizi


section

聖家族

thumbnailVisitors observing Doni Tondo in Uffizi GalleryThere is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background. Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni . Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer. One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David.  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry  – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

Prompt: 聖家族の学術理論を説明してください。英語で出力して下さい。

Baptism
Florentine Baptistry
Giorgio Vasari
Holy Family
John the Baptist
Michelangelo
Mirella Levi D'Ancona
John the Baptist
Trinity
Uffizi


section

聖家族

thumbnailVisitors observing Doni Tondo in Uffizi GalleryThere is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background. Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni . Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer. One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David.  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry  – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

Prompt: 聖家族はどのように学術理論を説明していますか？英語で出力して下さい。

Baptism
Florentine Baptistry
Giorgio Vasari
Holy Family
John the Baptist
Michelangelo
Mirella Levi D'Ancona
John the Baptist
Trinity
Uffizi


section

聖家族

thumbnailVisitors observing Doni Tondo in Uffizi GalleryThere is a multitude of interpretations for the various parts of the work. Most interpretations differ in defining the relationship between the Holy Family and the figures in the background. Barolsky bases much of his thesis on the language used by Giorgio Vasari in his work Lives of the Most Excellent Italian Painters, Sculptors, and Architects, from Cimabue to Our Times. His support for the idea of devotion comes from Christ being presented in the painting like a gift, which he links to the painting's patron due to a perceived pun on the Italian word for "gift", donare, and the patron's name, Doni . Furthering the Christ-as-gift metaphor, Mary's holding of Christ in the painting is seen to reference the elevating of the host during mass.  Mirella Levi D'Ancona argues that the image reflects Michelangelo's views on the roles of the members of the Holy Family in human salvation and the soul's immortality. The Virgin's placement and emphasis is due to her role in human salvation. Additionally, in looking at them as separate groupings, she suggests that the two figures on Mary's right represents the human and divine natures of Christ, while the three on her left represent the Trinity. Hayum further supports this by acknowledging the direct link between Joseph and Noah as depicted in Michelangelo's Sistine Ceiling paintings. This link to Noah also gives an explanation to the nudes in the background, whose forms may have inspired the sons in the Drunkenness of Noah. The allusion to the Noah story also brings up themes of baptismal water, thus giving rise to an interpretation of the nudes similar to D'Ancona's: "catechumens awaiting baptism" from John the Baptist, whose "isolation within a pit-like space" indicates his special role as baptizer. One of the ways in which the painting depicts a "good marriage" is by the seemingly "reciprocal action" of the handling of Jesus between Joseph and Mary. Much importance is given to Joseph by way of the colors of his clothes: yellow, indicating the divine aspect of the family as well as "truth", and purple, standing for royal lineage tracing from the House of David.  The theme of baptism is also suggested on the painting's frame through a possible reference to Ghiberti's Porta del Paradiso – being one of the three sets of doors of the Florentine Baptistry  – the sculpted details indirectly referring to the rite of Baptism, important for the Donis and their desire for a child as the product of a good marriage, exemplified by the Holy Family, perhaps one reason behind the commissioning of the work.

Prompt: 聖家族に関して、どのように学術理論が議論されていますか？英語で出力して下さい。

Baptism
Florentine Baptistry
Giorgio Vasari
Holy Family
John the Baptist
Michelangelo
Mirella Levi D'Ancona
John the Baptist
Trinity
Uffizi


section

聖家族

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

List of works by Michelangelo
Michelangelo


section

聖家族

Prompt: 聖家族の参照を説明してください。英語で出力して下さい。

List of works by Michelangelo
Michelangelo


section

聖家族

Prompt: 聖家族はどのように参照を説明していますか？英語で出力して下さい。

List of works by Michelangelo
Michelangelo


section

聖家族

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

List of works by Michelangelo
Michelangelo


section

聖家族

Natali, Antonio , Michelangelo. Inside and outside the Uffizi, Florence: Maschietto Editore, 2014.   E. Buzzegoli, R. Bellucci, Michelangelo’s Doni Tondo investigated with non-invasive analytical techniques, in Studying old master paintings, Technology and Practice, ed. by M. Spring, London 2011

Prompt: 聖家族に焦点を当てて、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

聖家族

Natali, Antonio , Michelangelo. Inside and outside the Uffizi, Florence: Maschietto Editore, 2014.   E. Buzzegoli, R. Bellucci, Michelangelo’s Doni Tondo investigated with non-invasive analytical techniques, in Studying old master paintings, Technology and Practice, ed. by M. Spring, London 2011

Prompt: 聖家族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

聖家族

Natali, Antonio , Michelangelo. Inside and outside the Uffizi, Florence: Maschietto Editore, 2014.   E. Buzzegoli, R. Bellucci, Michelangelo’s Doni Tondo investigated with non-invasive analytical techniques, in Studying old master paintings, Technology and Practice, ed. by M. Spring, London 2011

Prompt: 聖家族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

聖家族

Natali, Antonio , Michelangelo. Inside and outside the Uffizi, Florence: Maschietto Editore, 2014.   E. Buzzegoli, R. Bellucci, Michelangelo’s Doni Tondo investigated with non-invasive analytical techniques, in Studying old master paintings, Technology and Practice, ed. by M. Spring, London 2011

Prompt: 聖家族に関して、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

神秘の降誕

medium=Oil on canvas height_metric=108.5 width_metric=74.9 city= London museum=National Gallery}}The Mystical Nativity is a painting in oil on canvas executed  by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. It is his only signed work and has an unusual iconography for a painting of the Nativity.The Greek inscription at the top translates as: 'This picture, at the end of the year 1500, in the troubles of Italy, I, Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three and a half years; then he shall be bound in the twelfth [chapter] and we shall see [him buried] as in this picture'. Botticelli believed himself to be living during the Great Tribulation, possibly due to the upheavals in Europe at the time, and was predicting Christ's millennium as stated in the Book of Revelation.The painting is connected with the influence of Girolamo Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it. The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger both than other figures, and their surroundings; this was certainly done deliberately for effect, as earlier works by Botticelli use correct graphical perspective.It is not to be confused with the Mystical Nativity or Adoration in the Forest by Filippo Lippi, now in Berlin.

Prompt: 神秘の降誕に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Book of Revelation
Filippo Lippi
Girolamo Savonarola
Great Tribulation
Jesus
London
National Gallery
Renaissance
Sandro Botticelli
Girolamo Savonarola


section

神秘の降誕

medium=Oil on canvas height_metric=108.5 width_metric=74.9 city= London museum=National Gallery}}The Mystical Nativity is a painting in oil on canvas executed  by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. It is his only signed work and has an unusual iconography for a painting of the Nativity.The Greek inscription at the top translates as: 'This picture, at the end of the year 1500, in the troubles of Italy, I, Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three and a half years; then he shall be bound in the twelfth [chapter] and we shall see [him buried] as in this picture'. Botticelli believed himself to be living during the Great Tribulation, possibly due to the upheavals in Europe at the time, and was predicting Christ's millennium as stated in the Book of Revelation.The painting is connected with the influence of Girolamo Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it. The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger both than other figures, and their surroundings; this was certainly done deliberately for effect, as earlier works by Botticelli use correct graphical perspective.It is not to be confused with the Mystical Nativity or Adoration in the Forest by Filippo Lippi, now in Berlin.

Prompt: 神秘の降誕の抽象を説明してください。英語で出力して下さい。

Book of Revelation
Filippo Lippi
Girolamo Savonarola
Great Tribulation
Jesus
London
National Gallery
Renaissance
Sandro Botticelli
Girolamo Savonarola


section

神秘の降誕

medium=Oil on canvas height_metric=108.5 width_metric=74.9 city= London museum=National Gallery}}The Mystical Nativity is a painting in oil on canvas executed  by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. It is his only signed work and has an unusual iconography for a painting of the Nativity.The Greek inscription at the top translates as: 'This picture, at the end of the year 1500, in the troubles of Italy, I, Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three and a half years; then he shall be bound in the twelfth [chapter] and we shall see [him buried] as in this picture'. Botticelli believed himself to be living during the Great Tribulation, possibly due to the upheavals in Europe at the time, and was predicting Christ's millennium as stated in the Book of Revelation.The painting is connected with the influence of Girolamo Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it. The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger both than other figures, and their surroundings; this was certainly done deliberately for effect, as earlier works by Botticelli use correct graphical perspective.It is not to be confused with the Mystical Nativity or Adoration in the Forest by Filippo Lippi, now in Berlin.

Prompt: 神秘の降誕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。

Book of Revelation
Filippo Lippi
Girolamo Savonarola
Great Tribulation
Jesus
London
National Gallery
Renaissance
Sandro Botticelli
Girolamo Savonarola


section

神秘の降誕

medium=Oil on canvas height_metric=108.5 width_metric=74.9 city= London museum=National Gallery}}The Mystical Nativity is a painting in oil on canvas executed  by the Italian Renaissance master Sandro Botticelli, in the National Gallery in London. It is his only signed work and has an unusual iconography for a painting of the Nativity.The Greek inscription at the top translates as: 'This picture, at the end of the year 1500, in the troubles of Italy, I, Alessandro, in the half-time after the time, painted, according to the eleventh [chapter] of Saint John, in the second woe of the Apocalypse, during the release of the devil for three and a half years; then he shall be bound in the twelfth [chapter] and we shall see [him buried] as in this picture'. Botticelli believed himself to be living during the Great Tribulation, possibly due to the upheavals in Europe at the time, and was predicting Christ's millennium as stated in the Book of Revelation.The painting is connected with the influence of Girolamo Savonarola, whose influence appears in a number of late paintings by Botticelli, though the contents of the image may have been specified by the person commissioning it. The painting uses the medieval convention of showing the Virgin Mary and infant Jesus larger both than other figures, and their surroundings; this was certainly done deliberately for effect, as earlier works by Botticelli use correct graphical perspective.It is not to be confused with the Mystical Nativity or Adoration in the Forest by Filippo Lippi, now in Berlin.

Prompt: 神秘の降誕に関して、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。

Book of Revelation
Filippo Lippi
Girolamo Savonarola
Great Tribulation
Jesus
London
National Gallery
Renaissance
Sandro Botticelli
Girolamo Savonarola


section

神秘の降誕

The Virgin Mary is shown kneeling before the Christ Child in the centre, both are on a larger scale than the other figures. Joseph sits on the ground next to the child, perhaps asleep, with his face not visible. Behind the family are a ox and an ass. On either side of the main group an angel with an olive branch in their outstretched hand shows the child to two shepherds and three men in long gowns, perhaps the biblical Magi. These five are kneeling and crowned with olive branches. At the bottom of the work, three angels embrace three men also with olive on their head. Around them  seven small devils are piercing themselves with lances and falling back into the underworld, "burying themselves".

Prompt: 神秘の降誕に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

神秘の降誕

The Virgin Mary is shown kneeling before the Christ Child in the centre, both are on a larger scale than the other figures. Joseph sits on the ground next to the child, perhaps asleep, with his face not visible. Behind the family are a ox and an ass. On either side of the main group an angel with an olive branch in their outstretched hand shows the child to two shepherds and three men in long gowns, perhaps the biblical Magi. These five are kneeling and crowned with olive branches. At the bottom of the work, three angels embrace three men also with olive on their head. Around them  seven small devils are piercing themselves with lances and falling back into the underworld, "burying themselves".

Prompt: 神秘の降誕の説明を説明してください。英語で出力して下さい。


section

神秘の降誕

The Virgin Mary is shown kneeling before the Christ Child in the centre, both are on a larger scale than the other figures. Joseph sits on the ground next to the child, perhaps asleep, with his face not visible. Behind the family are a ox and an ass. On either side of the main group an angel with an olive branch in their outstretched hand shows the child to two shepherds and three men in long gowns, perhaps the biblical Magi. These five are kneeling and crowned with olive branches. At the bottom of the work, three angels embrace three men also with olive on their head. Around them  seven small devils are piercing themselves with lances and falling back into the underworld, "burying themselves".

Prompt: 神秘の降誕はどのように説明を説明していますか？英語で出力して下さい。


section

神秘の降誕

The Virgin Mary is shown kneeling before the Christ Child in the centre, both are on a larger scale than the other figures. Joseph sits on the ground next to the child, perhaps asleep, with his face not visible. Behind the family are a ox and an ass. On either side of the main group an angel with an olive branch in their outstretched hand shows the child to two shepherds and three men in long gowns, perhaps the biblical Magi. These five are kneeling and crowned with olive branches. At the bottom of the work, three angels embrace three men also with olive on their head. Around them  seven small devils are piercing themselves with lances and falling back into the underworld, "burying themselves".

Prompt: 神秘の降誕に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

神秘の降誕

The Mystical Nativity depicts a scene of joy and celebration, of earthly and heavenly delight, with angels dancing at the top of the painting. At the top of the painting stands Sandro Botticelli's name – but also the apocalyptic and troubling words. And there are dark premonitions – the helpless child rests on a sheet that evokes the shroud in which his body will one day be wrapped, while the cave in which the scene is set calls to mind his tomb. The Kings on the left bear no gifts, but their own devotion. At the top of the painting twelve angels dressed in the colours of faith, hope and charity dance in a circle holding olive branches, and above them heaven opens in a great golden dome, while at the bottom of the painting three angels embrace three men, seeming to raise them up from the ground. They hold scrolls which proclaim in tin, "peace on earth to men of goodwill". Behind them seven devils flee to the underworld, some impaled on their own weapons. In Renaissance times st Judgment paintings showed viewers the reckoning of the damned and the saved at the time of Christ's Second Coming. According to art historian Jonathan Nelson, "in echoing this kind of painting the Mystical Nativity is asking us to think not only of Christ's birth but of his return".The painting emerged from the city of Florence in a time when the fanatical preacher Girolamo Savonarola held the city in its grip. He had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality: the Italian War of 1494–1498. In 1494 a huge French army invaded Italy and  troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in tin were the unique mystical qualities or privileges of the Virgin Mary – she is 'mother of her father', 'daughter of her son', 'bride of God' etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infrared reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola's 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting's inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.For years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the river Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola's followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystical Nativity.

Prompt: 神秘の降誕に焦点を当てて、その歴史的文脈を説明してください。英語で出力して下さい。

Arno
Book of Revelation
Florence Cathedral
Girolamo Savonarola
Renaissance
Sandro Botticelli
Girolamo Savonarola


section

神秘の降誕

The Mystical Nativity depicts a scene of joy and celebration, of earthly and heavenly delight, with angels dancing at the top of the painting. At the top of the painting stands Sandro Botticelli's name – but also the apocalyptic and troubling words. And there are dark premonitions – the helpless child rests on a sheet that evokes the shroud in which his body will one day be wrapped, while the cave in which the scene is set calls to mind his tomb. The Kings on the left bear no gifts, but their own devotion. At the top of the painting twelve angels dressed in the colours of faith, hope and charity dance in a circle holding olive branches, and above them heaven opens in a great golden dome, while at the bottom of the painting three angels embrace three men, seeming to raise them up from the ground. They hold scrolls which proclaim in tin, "peace on earth to men of goodwill". Behind them seven devils flee to the underworld, some impaled on their own weapons. In Renaissance times st Judgment paintings showed viewers the reckoning of the damned and the saved at the time of Christ's Second Coming. According to art historian Jonathan Nelson, "in echoing this kind of painting the Mystical Nativity is asking us to think not only of Christ's birth but of his return".The painting emerged from the city of Florence in a time when the fanatical preacher Girolamo Savonarola held the city in its grip. He had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality: the Italian War of 1494–1498. In 1494 a huge French army invaded Italy and  troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in tin were the unique mystical qualities or privileges of the Virgin Mary – she is 'mother of her father', 'daughter of her son', 'bride of God' etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infrared reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola's 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting's inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.For years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the river Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola's followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystical Nativity.

Prompt: 神秘の降誕の歴史的文脈を説明してください。英語で出力して下さい。

Arno
Book of Revelation
Florence Cathedral
Girolamo Savonarola
Renaissance
Sandro Botticelli
Girolamo Savonarola


section

神秘の降誕

The Mystical Nativity depicts a scene of joy and celebration, of earthly and heavenly delight, with angels dancing at the top of the painting. At the top of the painting stands Sandro Botticelli's name – but also the apocalyptic and troubling words. And there are dark premonitions – the helpless child rests on a sheet that evokes the shroud in which his body will one day be wrapped, while the cave in which the scene is set calls to mind his tomb. The Kings on the left bear no gifts, but their own devotion. At the top of the painting twelve angels dressed in the colours of faith, hope and charity dance in a circle holding olive branches, and above them heaven opens in a great golden dome, while at the bottom of the painting three angels embrace three men, seeming to raise them up from the ground. They hold scrolls which proclaim in tin, "peace on earth to men of goodwill". Behind them seven devils flee to the underworld, some impaled on their own weapons. In Renaissance times st Judgment paintings showed viewers the reckoning of the damned and the saved at the time of Christ's Second Coming. According to art historian Jonathan Nelson, "in echoing this kind of painting the Mystical Nativity is asking us to think not only of Christ's birth but of his return".The painting emerged from the city of Florence in a time when the fanatical preacher Girolamo Savonarola held the city in its grip. He had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality: the Italian War of 1494–1498. In 1494 a huge French army invaded Italy and  troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in tin were the unique mystical qualities or privileges of the Virgin Mary – she is 'mother of her father', 'daughter of her son', 'bride of God' etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infrared reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola's 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting's inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.For years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the river Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola's followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystical Nativity.

Prompt: 神秘の降誕はどのように歴史的文脈を説明していますか？英語で出力して下さい。

Arno
Book of Revelation
Florence Cathedral
Girolamo Savonarola
Renaissance
Sandro Botticelli
Girolamo Savonarola


section

神秘の降誕

The Mystical Nativity depicts a scene of joy and celebration, of earthly and heavenly delight, with angels dancing at the top of the painting. At the top of the painting stands Sandro Botticelli's name – but also the apocalyptic and troubling words. And there are dark premonitions – the helpless child rests on a sheet that evokes the shroud in which his body will one day be wrapped, while the cave in which the scene is set calls to mind his tomb. The Kings on the left bear no gifts, but their own devotion. At the top of the painting twelve angels dressed in the colours of faith, hope and charity dance in a circle holding olive branches, and above them heaven opens in a great golden dome, while at the bottom of the painting three angels embrace three men, seeming to raise them up from the ground. They hold scrolls which proclaim in tin, "peace on earth to men of goodwill". Behind them seven devils flee to the underworld, some impaled on their own weapons. In Renaissance times st Judgment paintings showed viewers the reckoning of the damned and the saved at the time of Christ's Second Coming. According to art historian Jonathan Nelson, "in echoing this kind of painting the Mystical Nativity is asking us to think not only of Christ's birth but of his return".The painting emerged from the city of Florence in a time when the fanatical preacher Girolamo Savonarola held the city in its grip. He had arrived in Florence in 1490 but had been repelled by the artistic glory and enormous wealth that so impressed the world. He preached that this was a corrupt and vice-ridden place. A great scourge was approaching – and then his words had assumed a terrifying reality: the Italian War of 1494–1498. In 1494 a huge French army invaded Italy and  troops entered Florence so that the Florentines feared the King of France meant to sack the city. Savonarola stepped into the political vacuum, he met with the French king and persuaded him to leave Florence peacefully. In their gratitude and relief the Florentines increasingly saw the friar as a prophet and his preaching attracted huge crowds to Florence Cathedral. Savonarola claimed that Florence could become the new Jerusalem if the citizens would repent and abandon their sinful luxuries – and that included much of their art. His beliefs were made real as groups of evangelical youths went on to the streets to encourage people to part with their luxuries, their lewd pictures, and books, their vanities, combs, mirrors. Botticelli may well have seen his own paintings fed to the flames. Yet the artist might not have objected because, like much of the city, he too had come under the sway of Savonarola. It seems that a sermon preached by Savonarola bears directly upon the Mystical Nativity.In one sermon Savonarola preached he set forth a vision that had come to him in which he saw an extraordinary heavenly crown. At its base were twelve hearts with twelve ribbons wrapped around them and written on these in tin were the unique mystical qualities or privileges of the Virgin Mary – she is 'mother of her father', 'daughter of her son', 'bride of God' etc. Though much of the writing on the ribbons held by the dancing angels is now invisible to the naked eye, infrared reflectography has shown that the original words on the angels ribbons correspond exactly to Savonarola's 12 privileges of the Virgin. In his sermon, preached on Assumption Day, Savonarola went on to explore the 11th and 12th chapters of the Book of Revelation – the precise chapters mentioned in the painting's inscription. He connected the glory of Mary with the imminent coming of the power of Christ on earth.For years Savonarola held Florence in his hand but his hard line charismatic rule made him powerful political enemies. He was challenged to prove his holiness by walking through fire and when he refused the tide of opinion turned against him. He was arrested, and under torture confessed to being a false prophet. On 23 May 1498 he was hanged with two of his leading lieutenants, their bodies burnt and their ashes scattered in the river Arno. Some see the figures of the three men at the bottom of the painting as representatives of the three executed holy men, raised up and restored to grace – but persecution not peace awaited Savonarola's followers and it was in an atmosphere of oppression that Botticelli set out to create the Mystical Nativity.

Prompt: 神秘の降誕に関して、どのように歴史的文脈が議論されていますか？英語で出力して下さい。

Arno
Book of Revelation
Florence Cathedral
Girolamo Savonarola
Renaissance
Sandro Botticelli
Girolamo Savonarola


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神秘の降誕

The painting is on canvas – normally he would have used wood panel – perhaps for a painting with a dangerous message, canvas had the advantage that it could be rolled up and hidden. With his canvas prepared he would sketch a detailed design on paper, then he transferred this to canvas. He drew on many sources – the dancing angels echo his own three graces of Primavera, the scurrying devil was inspired by a German woodcut. X-rays show that very little of the original design changed – only an angel's wing was adjusted and trees added over the roof of the stable. Botticelli was now ready to build up the image using tempera paint – the canvas was an experimental medium. To create the heavenly dome Botticelli called on the goldsmith's craft he had learned as a boy. "The symbolism of the gold is to do with the unchanging, untarnished nature of heaven – gold doesn't decay, it doesn't darken like silver. Botticelli would have used an adhesive layer made of oil mixed with resin – not burnished, the gold just patted down on to the surface, following the surface irregularities of the canvas – a glitter, intricate, it would have helped the jewel like quality of the painting – it would have drawn the eye upwards from the Nativity into Heaven. Faith, hope and charity, [the angels clothed in] white, green and red – but the copper based green pigment has discoloured with time, to bronze. Originally it would have been vibrant."

Prompt: 神秘の降誕に焦点を当てて、その技術を説明してください。英語で出力して下さい。


section

神秘の降誕

The painting is on canvas – normally he would have used wood panel – perhaps for a painting with a dangerous message, canvas had the advantage that it could be rolled up and hidden. With his canvas prepared he would sketch a detailed design on paper, then he transferred this to canvas. He drew on many sources – the dancing angels echo his own three graces of Primavera, the scurrying devil was inspired by a German woodcut. X-rays show that very little of the original design changed – only an angel's wing was adjusted and trees added over the roof of the stable. Botticelli was now ready to build up the image using tempera paint – the canvas was an experimental medium. To create the heavenly dome Botticelli called on the goldsmith's craft he had learned as a boy. "The symbolism of the gold is to do with the unchanging, untarnished nature of heaven – gold doesn't decay, it doesn't darken like silver. Botticelli would have used an adhesive layer made of oil mixed with resin – not burnished, the gold just patted down on to the surface, following the surface irregularities of the canvas – a glitter, intricate, it would have helped the jewel like quality of the painting – it would have drawn the eye upwards from the Nativity into Heaven. Faith, hope and charity, [the angels clothed in] white, green and red – but the copper based green pigment has discoloured with time, to bronze. Originally it would have been vibrant."

Prompt: 神秘の降誕の技術を説明してください。英語で出力して下さい。


section

神秘の降誕

The painting is on canvas – normally he would have used wood panel – perhaps for a painting with a dangerous message, canvas had the advantage that it could be rolled up and hidden. With his canvas prepared he would sketch a detailed design on paper, then he transferred this to canvas. He drew on many sources – the dancing angels echo his own three graces of Primavera, the scurrying devil was inspired by a German woodcut. X-rays show that very little of the original design changed – only an angel's wing was adjusted and trees added over the roof of the stable. Botticelli was now ready to build up the image using tempera paint – the canvas was an experimental medium. To create the heavenly dome Botticelli called on the goldsmith's craft he had learned as a boy. "The symbolism of the gold is to do with the unchanging, untarnished nature of heaven – gold doesn't decay, it doesn't darken like silver. Botticelli would have used an adhesive layer made of oil mixed with resin – not burnished, the gold just patted down on to the surface, following the surface irregularities of the canvas – a glitter, intricate, it would have helped the jewel like quality of the painting – it would have drawn the eye upwards from the Nativity into Heaven. Faith, hope and charity, [the angels clothed in] white, green and red – but the copper based green pigment has discoloured with time, to bronze. Originally it would have been vibrant."

Prompt: 神秘の降誕はどのように技術を説明していますか？英語で出力して下さい。


section

神秘の降誕

The painting is on canvas – normally he would have used wood panel – perhaps for a painting with a dangerous message, canvas had the advantage that it could be rolled up and hidden. With his canvas prepared he would sketch a detailed design on paper, then he transferred this to canvas. He drew on many sources – the dancing angels echo his own three graces of Primavera, the scurrying devil was inspired by a German woodcut. X-rays show that very little of the original design changed – only an angel's wing was adjusted and trees added over the roof of the stable. Botticelli was now ready to build up the image using tempera paint – the canvas was an experimental medium. To create the heavenly dome Botticelli called on the goldsmith's craft he had learned as a boy. "The symbolism of the gold is to do with the unchanging, untarnished nature of heaven – gold doesn't decay, it doesn't darken like silver. Botticelli would have used an adhesive layer made of oil mixed with resin – not burnished, the gold just patted down on to the surface, following the surface irregularities of the canvas – a glitter, intricate, it would have helped the jewel like quality of the painting – it would have drawn the eye upwards from the Nativity into Heaven. Faith, hope and charity, [the angels clothed in] white, green and red – but the copper based green pigment has discoloured with time, to bronze. Originally it would have been vibrant."

Prompt: 神秘の降誕に関して、どのように技術が議論されていますか？英語で出力して下さい。


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神秘の降誕

Botticelli died in 1510. The Mystical Nativity remained little known for another three centuries. Rome at the end of the 18th century was very different to Renaissance Florence – except for the presence of French invaders. Many foreigners left, but not a young Englishman, William Young Ottley. He was an art lover, and wealthy with a slave plantation in the Caribbean. He bought up many paintings cheaply. At the Villa Aldobrandini he saw a small, unknown work, Botticelli's Mystical Nativity. Botticelli was then in obscurity.It arrived in London where Ottley's house became in effect a private museum of Italian masterpieces. After Ottley's death William Fuller Maitland of Stansted picked up the painting at an auction for £80. When he loaned it to the Art Treasures Exhibition, Manchester 1857, it was probably exposed to a wide public for the first time. The exhibition's newspaper the Art Treasures Examiner printed a reproduction of it.John Ruskin helped to give the painting its name; after seeing it in London he referred to Botticelli's 'mystic symbolism'. When Maitland died in 1876 the National Gallery in London stepped in. According to Nicholas Penny the Gallery "was concerned to buy works from the earlier Renaissance – previously it had been its top priority to buy masterpieces which there would be no controversy about at all. There was an element of avant-garde excitement about buying pictures like this in the 19th century." When the Gallery bought the painting in 1878, it had to find £1,500, nearly 20 times what it had fetched just thirty years earlier.

Prompt: 神秘の降誕に焦点を当てて、その後史を説明してください。英語で出力して下さい。


section

神秘の降誕

Botticelli died in 1510. The Mystical Nativity remained little known for another three centuries. Rome at the end of the 18th century was very different to Renaissance Florence – except for the presence of French invaders. Many foreigners left, but not a young Englishman, William Young Ottley. He was an art lover, and wealthy with a slave plantation in the Caribbean. He bought up many paintings cheaply. At the Villa Aldobrandini he saw a small, unknown work, Botticelli's Mystical Nativity. Botticelli was then in obscurity.It arrived in London where Ottley's house became in effect a private museum of Italian masterpieces. After Ottley's death William Fuller Maitland of Stansted picked up the painting at an auction for £80. When he loaned it to the Art Treasures Exhibition, Manchester 1857, it was probably exposed to a wide public for the first time. The exhibition's newspaper the Art Treasures Examiner printed a reproduction of it.John Ruskin helped to give the painting its name; after seeing it in London he referred to Botticelli's 'mystic symbolism'. When Maitland died in 1876 the National Gallery in London stepped in. According to Nicholas Penny the Gallery "was concerned to buy works from the earlier Renaissance – previously it had been its top priority to buy masterpieces which there would be no controversy about at all. There was an element of avant-garde excitement about buying pictures like this in the 19th century." When the Gallery bought the painting in 1878, it had to find £1,500, nearly 20 times what it had fetched just thirty years earlier.

Prompt: 神秘の降誕の後史を説明してください。英語で出力して下さい。


section

神秘の降誕

Botticelli died in 1510. The Mystical Nativity remained little known for another three centuries. Rome at the end of the 18th century was very different to Renaissance Florence – except for the presence of French invaders. Many foreigners left, but not a young Englishman, William Young Ottley. He was an art lover, and wealthy with a slave plantation in the Caribbean. He bought up many paintings cheaply. At the Villa Aldobrandini he saw a small, unknown work, Botticelli's Mystical Nativity. Botticelli was then in obscurity.It arrived in London where Ottley's house became in effect a private museum of Italian masterpieces. After Ottley's death William Fuller Maitland of Stansted picked up the painting at an auction for £80. When he loaned it to the Art Treasures Exhibition, Manchester 1857, it was probably exposed to a wide public for the first time. The exhibition's newspaper the Art Treasures Examiner printed a reproduction of it.John Ruskin helped to give the painting its name; after seeing it in London he referred to Botticelli's 'mystic symbolism'. When Maitland died in 1876 the National Gallery in London stepped in. According to Nicholas Penny the Gallery "was concerned to buy works from the earlier Renaissance – previously it had been its top priority to buy masterpieces which there would be no controversy about at all. There was an element of avant-garde excitement about buying pictures like this in the 19th century." When the Gallery bought the painting in 1878, it had to find £1,500, nearly 20 times what it had fetched just thirty years earlier.

Prompt: 神秘の降誕はどのように後史を説明していますか？英語で出力して下さい。


section

神秘の降誕

Botticelli died in 1510. The Mystical Nativity remained little known for another three centuries. Rome at the end of the 18th century was very different to Renaissance Florence – except for the presence of French invaders. Many foreigners left, but not a young Englishman, William Young Ottley. He was an art lover, and wealthy with a slave plantation in the Caribbean. He bought up many paintings cheaply. At the Villa Aldobrandini he saw a small, unknown work, Botticelli's Mystical Nativity. Botticelli was then in obscurity.It arrived in London where Ottley's house became in effect a private museum of Italian masterpieces. After Ottley's death William Fuller Maitland of Stansted picked up the painting at an auction for £80. When he loaned it to the Art Treasures Exhibition, Manchester 1857, it was probably exposed to a wide public for the first time. The exhibition's newspaper the Art Treasures Examiner printed a reproduction of it.John Ruskin helped to give the painting its name; after seeing it in London he referred to Botticelli's 'mystic symbolism'. When Maitland died in 1876 the National Gallery in London stepped in. According to Nicholas Penny the Gallery "was concerned to buy works from the earlier Renaissance – previously it had been its top priority to buy masterpieces which there would be no controversy about at all. There was an element of avant-garde excitement about buying pictures like this in the 19th century." When the Gallery bought the painting in 1878, it had to find £1,500, nearly 20 times what it had fetched just thirty years earlier.

Prompt: 神秘の降誕に関して、どのように後史が議論されていますか？英語で出力して下さい。


section

神秘の降誕

Prompt: 神秘の降誕に焦点を当てて、その参照を説明してください。英語で出力して下さい。


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神秘の降誕

Prompt: 神秘の降誕の参照を説明してください。英語で出力して下さい。


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神秘の降誕

Prompt: 神秘の降誕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。


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神秘の降誕

Prompt: 神秘の降誕に関して、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。


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手紙を書く女

A dy Writing a Letter  is an oil on canvas painting attributed to 17th century Dutch painter Johannes Vermeer. It is believed to have been completed by artist during his mature phase, in the mid-to-late 1660s.  The work is in the collection of the National Gallery of Art in Washington, D.C.

Prompt: 手紙を書く女に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Johannes Vermeer
National Gallery of Art
Washington, D.C.


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手紙を書く女

A dy Writing a Letter  is an oil on canvas painting attributed to 17th century Dutch painter Johannes Vermeer. It is believed to have been completed by artist during his mature phase, in the mid-to-late 1660s.  The work is in the collection of the National Gallery of Art in Washington, D.C.

Prompt: 手紙を書く女の抽象を説明してください。英語で出力して下さい。

Johannes Vermeer
National Gallery of Art
Washington, D.C.


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手紙を書く女

A dy Writing a Letter  is an oil on canvas painting attributed to 17th century Dutch painter Johannes Vermeer. It is believed to have been completed by artist during his mature phase, in the mid-to-late 1660s.  The work is in the collection of the National Gallery of Art in Washington, D.C.

Prompt: 手紙を書く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。

Johannes Vermeer
National Gallery of Art
Washington, D.C.


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手紙を書く女

A dy Writing a Letter  is an oil on canvas painting attributed to 17th century Dutch painter Johannes Vermeer. It is believed to have been completed by artist during his mature phase, in the mid-to-late 1660s.  The work is in the collection of the National Gallery of Art in Washington, D.C.

Prompt: 手紙を書く女に関して、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。

Johannes Vermeer
National Gallery of Art
Washington, D.C.


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手紙を書く女

The lady in the painting is shown writing a letter while sitting at a table in a room. She appears to have been interrupted, as she has turned her head away from the letter to look towards the viewer, while she continues to hold the quill in her right hand. She is dressed elegantly in a lemon-yellow morning jacket and wears a necklace with ten pearls and two pearl earrings. The number of compositional elements in the painting are limited and the focus is the woman's figure and the sparse objects in the woman and the table are brought near to the picture plane, which emphasizes the directness of her gaze. All small objects in the painting are placed on the table. This concentration of small forms stand in contrasts with the large forms used in the rest of the composition, which create a geometric framework for the figure.Many of the objects seen in the painting, such as the woman's coat, the cloth on the table, and the string of pearls, also appear in other Vermeer works. This has led to speculation that he or his family members owned the objects, and even that the subjects of the paintings are his relatives. It has often been suggested that in his paintings, Vermeer sought to depict in his models that which he could not give to his wife and family: calm and affluence.

Prompt: 手紙を書く女に焦点を当てて、そのシーンの説明を説明してください。英語で出力して下さい。


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手紙を書く女

The lady in the painting is shown writing a letter while sitting at a table in a room. She appears to have been interrupted, as she has turned her head away from the letter to look towards the viewer, while she continues to hold the quill in her right hand. She is dressed elegantly in a lemon-yellow morning jacket and wears a necklace with ten pearls and two pearl earrings. The number of compositional elements in the painting are limited and the focus is the woman's figure and the sparse objects in the woman and the table are brought near to the picture plane, which emphasizes the directness of her gaze. All small objects in the painting are placed on the table. This concentration of small forms stand in contrasts with the large forms used in the rest of the composition, which create a geometric framework for the figure.Many of the objects seen in the painting, such as the woman's coat, the cloth on the table, and the string of pearls, also appear in other Vermeer works. This has led to speculation that he or his family members owned the objects, and even that the subjects of the paintings are his relatives. It has often been suggested that in his paintings, Vermeer sought to depict in his models that which he could not give to his wife and family: calm and affluence.

Prompt: 手紙を書く女のシーンの説明を説明してください。英語で出力して下さい。


section

手紙を書く女

The lady in the painting is shown writing a letter while sitting at a table in a room. She appears to have been interrupted, as she has turned her head away from the letter to look towards the viewer, while she continues to hold the quill in her right hand. She is dressed elegantly in a lemon-yellow morning jacket and wears a necklace with ten pearls and two pearl earrings. The number of compositional elements in the painting are limited and the focus is the woman's figure and the sparse objects in the woman and the table are brought near to the picture plane, which emphasizes the directness of her gaze. All small objects in the painting are placed on the table. This concentration of small forms stand in contrasts with the large forms used in the rest of the composition, which create a geometric framework for the figure.Many of the objects seen in the painting, such as the woman's coat, the cloth on the table, and the string of pearls, also appear in other Vermeer works. This has led to speculation that he or his family members owned the objects, and even that the subjects of the paintings are his relatives. It has often been suggested that in his paintings, Vermeer sought to depict in his models that which he could not give to his wife and family: calm and affluence.

Prompt: 手紙を書く女はどのようにシーンの説明を説明していますか？英語で出力して下さい。


section

手紙を書く女

The lady in the painting is shown writing a letter while sitting at a table in a room. She appears to have been interrupted, as she has turned her head away from the letter to look towards the viewer, while she continues to hold the quill in her right hand. She is dressed elegantly in a lemon-yellow morning jacket and wears a necklace with ten pearls and two pearl earrings. The number of compositional elements in the painting are limited and the focus is the woman's figure and the sparse objects in the woman and the table are brought near to the picture plane, which emphasizes the directness of her gaze. All small objects in the painting are placed on the table. This concentration of small forms stand in contrasts with the large forms used in the rest of the composition, which create a geometric framework for the figure.Many of the objects seen in the painting, such as the woman's coat, the cloth on the table, and the string of pearls, also appear in other Vermeer works. This has led to speculation that he or his family members owned the objects, and even that the subjects of the paintings are his relatives. It has often been suggested that in his paintings, Vermeer sought to depict in his models that which he could not give to his wife and family: calm and affluence.

Prompt: 手紙を書く女に関して、どのようにシーンの説明が議論されていますか？英語で出力して下さい。


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手紙を書く女

Like many other paintings by Vermeer, the painting was made for his patron Pieter van Ruijven . From him it passed possibly by inheritance to his wife, Maria de Knuijt [died 1681]. From her it then possibly passed by inheritance to her daughter, Magdalena van Ruijven and from her possibly by inheritance to her husband, Jacobus Abrahamsz. Dissius.  After his death the work was auctioned in Amsterdam on 16 May 1696. Until the early nineteenth century, the work remained in the hands of several Dutch owners until it was bought in 1827 by the Belgian politician François de Robiano  in whose family it remained until it was bought in 1907 by the American banker John Pierpont Morgan . In 1946 the American art collector Horace Havemeyer  acquired the work. Harry Waldron Havemeyer and Horace Havemeyer donated the work to the National Gallery of Art in 1962.

Prompt: 手紙を書く女に焦点を当てて、その絵画の歴史を説明してください。英語で出力して下さい。

François de Robiano
Maria de Knuijt
National Gallery of Art
Pieter van Ruijven


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手紙を書く女

Like many other paintings by Vermeer, the painting was made for his patron Pieter van Ruijven . From him it passed possibly by inheritance to his wife, Maria de Knuijt [died 1681]. From her it then possibly passed by inheritance to her daughter, Magdalena van Ruijven and from her possibly by inheritance to her husband, Jacobus Abrahamsz. Dissius.  After his death the work was auctioned in Amsterdam on 16 May 1696. Until the early nineteenth century, the work remained in the hands of several Dutch owners until it was bought in 1827 by the Belgian politician François de Robiano  in whose family it remained until it was bought in 1907 by the American banker John Pierpont Morgan . In 1946 the American art collector Horace Havemeyer  acquired the work. Harry Waldron Havemeyer and Horace Havemeyer donated the work to the National Gallery of Art in 1962.

Prompt: 手紙を書く女の絵画の歴史を説明してください。英語で出力して下さい。

François de Robiano
Maria de Knuijt
National Gallery of Art
Pieter van Ruijven


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手紙を書く女

Like many other paintings by Vermeer, the painting was made for his patron Pieter van Ruijven . From him it passed possibly by inheritance to his wife, Maria de Knuijt [died 1681]. From her it then possibly passed by inheritance to her daughter, Magdalena van Ruijven and from her possibly by inheritance to her husband, Jacobus Abrahamsz. Dissius.  After his death the work was auctioned in Amsterdam on 16 May 1696. Until the early nineteenth century, the work remained in the hands of several Dutch owners until it was bought in 1827 by the Belgian politician François de Robiano  in whose family it remained until it was bought in 1907 by the American banker John Pierpont Morgan . In 1946 the American art collector Horace Havemeyer  acquired the work. Harry Waldron Havemeyer and Horace Havemeyer donated the work to the National Gallery of Art in 1962.

Prompt: 手紙を書く女はどのように絵画の歴史を説明していますか？英語で出力して下さい。

François de Robiano
Maria de Knuijt
National Gallery of Art
Pieter van Ruijven


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手紙を書く女

Like many other paintings by Vermeer, the painting was made for his patron Pieter van Ruijven . From him it passed possibly by inheritance to his wife, Maria de Knuijt [died 1681]. From her it then possibly passed by inheritance to her daughter, Magdalena van Ruijven and from her possibly by inheritance to her husband, Jacobus Abrahamsz. Dissius.  After his death the work was auctioned in Amsterdam on 16 May 1696. Until the early nineteenth century, the work remained in the hands of several Dutch owners until it was bought in 1827 by the Belgian politician François de Robiano  in whose family it remained until it was bought in 1907 by the American banker John Pierpont Morgan . In 1946 the American art collector Horace Havemeyer  acquired the work. Harry Waldron Havemeyer and Horace Havemeyer donated the work to the National Gallery of Art in 1962.

Prompt: 手紙を書く女に関して、どのように絵画の歴史が議論されていますか？英語で出力して下さい。

François de Robiano
Maria de Knuijt
National Gallery of Art
Pieter van Ruijven


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手紙を書く女

Prompt: 手紙を書く女に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Johannes Vermeer
List of paintings by Johannes Vermeer


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手紙を書く女

Prompt: 手紙を書く女の参照を説明してください。英語で出力して下さい。

Johannes Vermeer
List of paintings by Johannes Vermeer


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手紙を書く女

Prompt: 手紙を書く女はどのように参照を説明していますか？英語で出力して下さい。

Johannes Vermeer
List of paintings by Johannes Vermeer


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手紙を書く女

Prompt: 手紙を書く女に関して、どのように参照が議論されていますか？英語で出力して下さい。

Johannes Vermeer
List of paintings by Johannes Vermeer


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手紙を書く女

Bonafoux, Pascal. Vermeer. New York: Konecky & Konecky, 1992.

Prompt: 手紙を書く女に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


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手紙を書く女

Bonafoux, Pascal. Vermeer. New York: Konecky & Konecky, 1992.

Prompt: 手紙を書く女の情報源を説明してください。英語で出力して下さい。


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手紙を書く女

Bonafoux, Pascal. Vermeer. New York: Konecky & Konecky, 1992.

Prompt: 手紙を書く女はどのように情報源を説明していますか？英語で出力して下さい。


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手紙を書く女

Bonafoux, Pascal. Vermeer. New York: Konecky & Konecky, 1992.

Prompt: 手紙を書く女に関して、どのように情報源が議論されていますか？英語で出力して下さい。


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マラーの死

The Death of Marat  is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Prompt: マラーの死に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Charlotte Corday
Committee of General Security
French Revolution
Jacques-Louis David
Jean-Paul Marat
Louvre


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マラーの死

The Death of Marat  is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Prompt: マラーの死の抽象を説明してください。英語で出力して下さい。

Charlotte Corday
Committee of General Security
French Revolution
Jacques-Louis David
Jean-Paul Marat
Louvre


section

マラーの死

The Death of Marat  is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Prompt: マラーの死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。

Charlotte Corday
Committee of General Security
French Revolution
Jacques-Louis David
Jean-Paul Marat
Louvre


section

マラーの死

The Death of Marat  is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Prompt: マラーの死に関して、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。

Charlotte Corday
Committee of General Security
French Revolution
Jacques-Louis David
Jean-Paul Marat
Louvre


section

マラーの死

Jean-Paul Marat  was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances .Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Prompt: マラーの死に焦点を当てて、そのマラー暗殺を説明してください。英語で出力して下さい。

Charlotte Corday
French Revolution
Jean-Paul Marat
L'Ami du peuple
Reign of Terror
Thermidorian Reaction


section

マラーの死

Jean-Paul Marat  was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances .Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Prompt: マラーの死のマラー暗殺を説明してください。英語で出力して下さい。

Charlotte Corday
French Revolution
Jean-Paul Marat
L'Ami du peuple
Reign of Terror
Thermidorian Reaction


section

マラーの死

Jean-Paul Marat  was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances .Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Prompt: マラーの死はどのようにマラー暗殺を説明していますか？英語で出力して下さい。

Charlotte Corday
French Revolution
Jean-Paul Marat
L'Ami du peuple
Reign of Terror
Thermidorian Reaction


section

マラーの死

Jean-Paul Marat  was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances .Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Prompt: マラーの死に関して、どのようにマラー暗殺が議論されていますか？英語で出力して下さい。

Charlotte Corday
French Revolution
Jean-Paul Marat
L'Ami du peuple
Reign of Terror
Thermidorian Reaction


section

マラーの死

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Prompt: マラーの死に焦点を当てて、そのデイビッドの政治を説明してください。英語で出力して下さい。

Committee of General Security
Committee of Public Instruction
Louis XVI
National Convention


section

マラーの死

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Prompt: マラーの死のデイビッドの政治を説明してください。英語で出力して下さい。

Committee of General Security
Committee of Public Instruction
Louis XVI
National Convention