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ロウソクに火を灯す少年

El Soplón or Boy Blowing on an Ember is a 1571-1572 oil on canvas painting by El Greco, produced during his stay in Rome and inspired by a passage in Pliny the Elder's Naturalis historia. It and Portrait of Giulio Clovio are among the first of his paintings of figures. He later re-used the figure for The Fable .It may have been a direct commission from the Farnese family, though its origins are not known for sure. It is traditionally thought to have been influenced by Jacopo Bassano, though recent studies have shown that it was instead an attempt to reconstruct a lost ancient Roman painting. It formed part of the Farnese Collection. The painting was inherited by Charles of Bourbon in 1734 and moved to Naples. It is now in the Museo di Capodimonte in Naples.

Prompt: ロウソクに火を灯す少年に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

El Greco
Farnese Collection
Jacopo Bassano
Museo di Capodimonte
Portrait of Giulio Clovio


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ロウソクに火を灯す少年

El Soplón or Boy Blowing on an Ember is a 1571-1572 oil on canvas painting by El Greco, produced during his stay in Rome and inspired by a passage in Pliny the Elder's Naturalis historia. It and Portrait of Giulio Clovio are among the first of his paintings of figures. He later re-used the figure for The Fable .It may have been a direct commission from the Farnese family, though its origins are not known for sure. It is traditionally thought to have been influenced by Jacopo Bassano, though recent studies have shown that it was instead an attempt to reconstruct a lost ancient Roman painting. It formed part of the Farnese Collection. The painting was inherited by Charles of Bourbon in 1734 and moved to Naples. It is now in the Museo di Capodimonte in Naples.

Prompt: ロウソクに火を灯す少年の抽象を説明してください。英語で出力して下さい。

El Greco
Farnese Collection
Jacopo Bassano
Museo di Capodimonte
Portrait of Giulio Clovio


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ロウソクに火を灯す少年

El Soplón or Boy Blowing on an Ember is a 1571-1572 oil on canvas painting by El Greco, produced during his stay in Rome and inspired by a passage in Pliny the Elder's Naturalis historia. It and Portrait of Giulio Clovio are among the first of his paintings of figures. He later re-used the figure for The Fable .It may have been a direct commission from the Farnese family, though its origins are not known for sure. It is traditionally thought to have been influenced by Jacopo Bassano, though recent studies have shown that it was instead an attempt to reconstruct a lost ancient Roman painting. It formed part of the Farnese Collection. The painting was inherited by Charles of Bourbon in 1734 and moved to Naples. It is now in the Museo di Capodimonte in Naples.

Prompt: ロウソクに火を灯す少年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。

El Greco
Farnese Collection
Jacopo Bassano
Museo di Capodimonte
Portrait of Giulio Clovio


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ロウソクに火を灯す少年

El Soplón or Boy Blowing on an Ember is a 1571-1572 oil on canvas painting by El Greco, produced during his stay in Rome and inspired by a passage in Pliny the Elder's Naturalis historia. It and Portrait of Giulio Clovio are among the first of his paintings of figures. He later re-used the figure for The Fable .It may have been a direct commission from the Farnese family, though its origins are not known for sure. It is traditionally thought to have been influenced by Jacopo Bassano, though recent studies have shown that it was instead an attempt to reconstruct a lost ancient Roman painting. It formed part of the Farnese Collection. The painting was inherited by Charles of Bourbon in 1734 and moved to Naples. It is now in the Museo di Capodimonte in Naples.

Prompt: ロウソクに火を灯す少年に関して、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。

El Greco
Farnese Collection
Jacopo Bassano
Museo di Capodimonte
Portrait of Giulio Clovio


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ロウソクに火を灯す少年

Prompt: ロウソクに火を灯す少年に焦点を当てて、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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ロウソクに火を灯す少年

Prompt: ロウソクに火を灯す少年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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ロウソクに火を灯す少年

Prompt: ロウソクに火を灯す少年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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ロウソクに火を灯す少年

Prompt: ロウソクに火を灯す少年に関して、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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ロウソクに火を灯す少年

J. Álvarez Lopera, El Greco, Madrid, Arlanza , Biblioteca «Descubrir el Arte», .   M. Scholz-Hanzsel, El Greco, Colonia, Taschen .

Prompt: ロウソクに火を灯す少年に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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ロウソクに火を灯す少年

J. Álvarez Lopera, El Greco, Madrid, Arlanza , Biblioteca «Descubrir el Arte», .   M. Scholz-Hanzsel, El Greco, Colonia, Taschen .

Prompt: ロウソクに火を灯す少年の参考文献を説明してください。英語で出力して下さい。


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ロウソクに火を灯す少年

J. Álvarez Lopera, El Greco, Madrid, Arlanza , Biblioteca «Descubrir el Arte», .   M. Scholz-Hanzsel, El Greco, Colonia, Taschen .

Prompt: ロウソクに火を灯す少年はどのように参考文献を説明していますか？英語で出力して下さい。


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ロウソクに火を灯す少年

J. Álvarez Lopera, El Greco, Madrid, Arlanza , Biblioteca «Descubrir el Arte», .   M. Scholz-Hanzsel, El Greco, Colonia, Taschen .

Prompt: ロウソクに火を灯す少年に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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ジュリオ・クローヴィオの肖像

medium=oil on canvas height_metric=58 width_metric=86 museum=Museo nazionale di Capodimonte city=Naples}} Portrait of Giulio Clovio is a Renaissance era painting by El Greco . It was commissioned by Italian cardinal Alessandro Farnese during the artist's stay in Rome. It formed part of the Farnese collection. Charles of Bourbon inherited it in 1734 and moved it to Naples, where it now hangs in the Museo di Capodimonte.Its subject Giulio Clovio  was a noted miniaturist, called "the Michelangelo of the miniature" by Giorgio Vasari. He had helped El Greco settle in Rome. Clovio is shown holding his masterpiece work, the Farnese Hours. In the background, there is a window showing a landscape and a stormy sky.

Prompt: ジュリオ・クローヴィオの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

El Greco
Farnese Hours
Giorgio Vasari
Giulio Clovio
Michelangelo


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ジュリオ・クローヴィオの肖像

medium=oil on canvas height_metric=58 width_metric=86 museum=Museo nazionale di Capodimonte city=Naples}} Portrait of Giulio Clovio is a Renaissance era painting by El Greco . It was commissioned by Italian cardinal Alessandro Farnese during the artist's stay in Rome. It formed part of the Farnese collection. Charles of Bourbon inherited it in 1734 and moved it to Naples, where it now hangs in the Museo di Capodimonte.Its subject Giulio Clovio  was a noted miniaturist, called "the Michelangelo of the miniature" by Giorgio Vasari. He had helped El Greco settle in Rome. Clovio is shown holding his masterpiece work, the Farnese Hours. In the background, there is a window showing a landscape and a stormy sky.

Prompt: ジュリオ・クローヴィオの肖像の抽象を説明してください。英語で出力して下さい。

El Greco
Farnese Hours
Giorgio Vasari
Giulio Clovio
Michelangelo


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ジュリオ・クローヴィオの肖像

medium=oil on canvas height_metric=58 width_metric=86 museum=Museo nazionale di Capodimonte city=Naples}} Portrait of Giulio Clovio is a Renaissance era painting by El Greco . It was commissioned by Italian cardinal Alessandro Farnese during the artist's stay in Rome. It formed part of the Farnese collection. Charles of Bourbon inherited it in 1734 and moved it to Naples, where it now hangs in the Museo di Capodimonte.Its subject Giulio Clovio  was a noted miniaturist, called "the Michelangelo of the miniature" by Giorgio Vasari. He had helped El Greco settle in Rome. Clovio is shown holding his masterpiece work, the Farnese Hours. In the background, there is a window showing a landscape and a stormy sky.

Prompt: ジュリオ・クローヴィオの肖像はどのように抽象を説明していますか？英語で出力して下さい。

El Greco
Farnese Hours
Giorgio Vasari
Giulio Clovio
Michelangelo


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ジュリオ・クローヴィオの肖像

medium=oil on canvas height_metric=58 width_metric=86 museum=Museo nazionale di Capodimonte city=Naples}} Portrait of Giulio Clovio is a Renaissance era painting by El Greco . It was commissioned by Italian cardinal Alessandro Farnese during the artist's stay in Rome. It formed part of the Farnese collection. Charles of Bourbon inherited it in 1734 and moved it to Naples, where it now hangs in the Museo di Capodimonte.Its subject Giulio Clovio  was a noted miniaturist, called "the Michelangelo of the miniature" by Giorgio Vasari. He had helped El Greco settle in Rome. Clovio is shown holding his masterpiece work, the Farnese Hours. In the background, there is a window showing a landscape and a stormy sky.

Prompt: ジュリオ・クローヴィオの肖像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

El Greco
Farnese Hours
Giorgio Vasari
Giulio Clovio
Michelangelo


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ジュリオ・クローヴィオの肖像

Prompt: ジュリオ・クローヴィオの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。


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ジュリオ・クローヴィオの肖像

Prompt: ジュリオ・クローヴィオの肖像の参照を説明してください。英語で出力して下さい。


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ジュリオ・クローヴィオの肖像

Prompt: ジュリオ・クローヴィオの肖像はどのように参照を説明していますか？英語で出力して下さい。


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ジュリオ・クローヴィオの肖像

Prompt: ジュリオ・クローヴィオの肖像に関して、どのように参照が議論されていますか？英語で出力して下さい。


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ジュリオ・クローヴィオの肖像

J. Álvarez Lopera, El Greco, Madrid, Arlanza , Biblioteca «Descubrir el Arte», .   M. Scholz-Hanzsel, El Greco, Colonia, Taschen .

Prompt: ジュリオ・クローヴィオの肖像に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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ジュリオ・クローヴィオの肖像

J. Álvarez Lopera, El Greco, Madrid, Arlanza , Biblioteca «Descubrir el Arte», .   M. Scholz-Hanzsel, El Greco, Colonia, Taschen .

Prompt: ジュリオ・クローヴィオの肖像の参考文献を説明してください。英語で出力して下さい。


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ジュリオ・クローヴィオの肖像

J. Álvarez Lopera, El Greco, Madrid, Arlanza , Biblioteca «Descubrir el Arte», .   M. Scholz-Hanzsel, El Greco, Colonia, Taschen .

Prompt: ジュリオ・クローヴィオの肖像はどのように参考文献を説明していますか？英語で出力して下さい。


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ジュリオ・クローヴィオの肖像

J. Álvarez Lopera, El Greco, Madrid, Arlanza , Biblioteca «Descubrir el Arte», .   M. Scholz-Hanzsel, El Greco, Colonia, Taschen .

Prompt: ジュリオ・クローヴィオの肖像に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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水浴のディアナ

Diana Bathing or Diana Getting out of her Bath  is an oil-on-canvas painting by French artist François Boucher, created in 1742. It depicts the Roman goddess Diana, with a nymph as her companion. The painting was acquired in 1852 by the Louvre, in Paris.

Prompt: 水浴のディアナに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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水浴のディアナ

Diana Bathing or Diana Getting out of her Bath  is an oil-on-canvas painting by French artist François Boucher, created in 1742. It depicts the Roman goddess Diana, with a nymph as her companion. The painting was acquired in 1852 by the Louvre, in Paris.

Prompt: 水浴のディアナの抽象を説明してください。英語で出力して下さい。


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水浴のディアナ

Diana Bathing or Diana Getting out of her Bath  is an oil-on-canvas painting by French artist François Boucher, created in 1742. It depicts the Roman goddess Diana, with a nymph as her companion. The painting was acquired in 1852 by the Louvre, in Paris.

Prompt: 水浴のディアナ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。


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水浴のディアナ

Diana Bathing or Diana Getting out of her Bath  is an oil-on-canvas painting by French artist François Boucher, created in 1742. It depicts the Roman goddess Diana, with a nymph as her companion. The painting was acquired in 1852 by the Louvre, in Paris.

Prompt: 水浴のディアナに関して、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。


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水浴のディアナ

The painting depicts in the foreground the naked goddess Diana, having just come out from her bath, with a female companion. Diana is recognizable by the crown of pearls that she wears, with a crescent-shaped jewel, and is in the company of a nymph kneeling at her feet.The goddess is nude, sitting on silks that enhance her fair complexion and blonde hair; the nymph, to her right, and left of the canvas, has dark hair, and observes the legs of the goddess. The bright skin tones acquire reddish reflections, in contrast to the bluish green of the landscape. The fact that the naked woman represented is the goddess of hunting is evidenced by her attributes, such as the quiver with the arrows, the two hunting dogs, and some prey. Diana sits on a silk fabric that symbolizes luxury and contrasts with the rural hinterland. Among the hunted animals there are two doves – symbols of love – which were often an attribute of Venice. Boucher used a similar motif in his work representing Venus Consoling Love. On the left there are two dogs, one drinks water from the pond where the goddess has just emerged, while the other turns his head.

Prompt: 水浴のディアナに焦点を当てて、その説明を説明してください。英語で出力して下さい。


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水浴のディアナ

The painting depicts in the foreground the naked goddess Diana, having just come out from her bath, with a female companion. Diana is recognizable by the crown of pearls that she wears, with a crescent-shaped jewel, and is in the company of a nymph kneeling at her feet.The goddess is nude, sitting on silks that enhance her fair complexion and blonde hair; the nymph, to her right, and left of the canvas, has dark hair, and observes the legs of the goddess. The bright skin tones acquire reddish reflections, in contrast to the bluish green of the landscape. The fact that the naked woman represented is the goddess of hunting is evidenced by her attributes, such as the quiver with the arrows, the two hunting dogs, and some prey. Diana sits on a silk fabric that symbolizes luxury and contrasts with the rural hinterland. Among the hunted animals there are two doves – symbols of love – which were often an attribute of Venice. Boucher used a similar motif in his work representing Venus Consoling Love. On the left there are two dogs, one drinks water from the pond where the goddess has just emerged, while the other turns his head.

Prompt: 水浴のディアナ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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水浴のディアナ

The painting depicts in the foreground the naked goddess Diana, having just come out from her bath, with a female companion. Diana is recognizable by the crown of pearls that she wears, with a crescent-shaped jewel, and is in the company of a nymph kneeling at her feet.The goddess is nude, sitting on silks that enhance her fair complexion and blonde hair; the nymph, to her right, and left of the canvas, has dark hair, and observes the legs of the goddess. The bright skin tones acquire reddish reflections, in contrast to the bluish green of the landscape. The fact that the naked woman represented is the goddess of hunting is evidenced by her attributes, such as the quiver with the arrows, the two hunting dogs, and some prey. Diana sits on a silk fabric that symbolizes luxury and contrasts with the rural hinterland. Among the hunted animals there are two doves – symbols of love – which were often an attribute of Venice. Boucher used a similar motif in his work representing Venus Consoling Love. On the left there are two dogs, one drinks water from the pond where the goddess has just emerged, while the other turns his head.

Prompt: 水浴のディアナ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。


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水浴のディアナ

The painting depicts in the foreground the naked goddess Diana, having just come out from her bath, with a female companion. Diana is recognizable by the crown of pearls that she wears, with a crescent-shaped jewel, and is in the company of a nymph kneeling at her feet.The goddess is nude, sitting on silks that enhance her fair complexion and blonde hair; the nymph, to her right, and left of the canvas, has dark hair, and observes the legs of the goddess. The bright skin tones acquire reddish reflections, in contrast to the bluish green of the landscape. The fact that the naked woman represented is the goddess of hunting is evidenced by her attributes, such as the quiver with the arrows, the two hunting dogs, and some prey. Diana sits on a silk fabric that symbolizes luxury and contrasts with the rural hinterland. Among the hunted animals there are two doves – symbols of love – which were often an attribute of Venice. Boucher used a similar motif in his work representing Venus Consoling Love. On the left there are two dogs, one drinks water from the pond where the goddess has just emerged, while the other turns his head.

Prompt: 水浴のディアナに関して、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。


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水浴のディアナ

In 1987, painter Herman Braun-Vega appropriated Diana getting out of her bath in his painting Diane des tropiques. By adding two nude mixed-race women also emerging from the bath to the foreground in front of Diana and her nymph, Braun-Vega expresses the advent of a multiracial, multicultural world. He repeated the process in 1989 in his painting  danse , adding the crossbreeding of Matisse's painting with that of Boucher.

Prompt: 水浴のディアナに焦点を当てて、その歳出を説明してください。英語で出力して下さい。


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水浴のディアナ

In 1987, painter Herman Braun-Vega appropriated Diana getting out of her bath in his painting Diane des tropiques. By adding two nude mixed-race women also emerging from the bath to the foreground in front of Diana and her nymph, Braun-Vega expresses the advent of a multiracial, multicultural world. He repeated the process in 1989 in his painting  danse , adding the crossbreeding of Matisse's painting with that of Boucher.

Prompt: 水浴のディアナの歳出を説明してください。英語で出力して下さい。


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水浴のディアナ

In 1987, painter Herman Braun-Vega appropriated Diana getting out of her bath in his painting Diane des tropiques. By adding two nude mixed-race women also emerging from the bath to the foreground in front of Diana and her nymph, Braun-Vega expresses the advent of a multiracial, multicultural world. He repeated the process in 1989 in his painting  danse , adding the crossbreeding of Matisse's painting with that of Boucher.

Prompt: 水浴のディアナはどのように歳出を説明していますか？英語で出力して下さい。


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水浴のディアナ

In 1987, painter Herman Braun-Vega appropriated Diana getting out of her bath in his painting Diane des tropiques. By adding two nude mixed-race women also emerging from the bath to the foreground in front of Diana and her nymph, Braun-Vega expresses the advent of a multiracial, multicultural world. He repeated the process in 1989 in his painting  danse , adding the crossbreeding of Matisse's painting with that of Boucher.

Prompt: 水浴のディアナに関して、どのように歳出が議論されていますか？英語で出力して下さい。


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黒い犬を連れた自画像

Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog  is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.

Prompt: 黒い犬を連れた自画像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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黒い犬を連れた自画像

Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog  is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.

Prompt: 黒い犬を連れた自画像の抽象を説明してください。英語で出力して下さい。


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黒い犬を連れた自画像

Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog  is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.

Prompt: 黒い犬を連れた自画像はどのように抽象を説明していますか？英語で出力して下さい。


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黒い犬を連れた自画像

Self-Portrait with a Black Dog, Portrait of the Artist or Courbet with a Black Dog  is an 1842 oil-on-canvas painting by the French artist Gustave Courbet, retouched by the artist in 1844. It is now in the Petit Palais in Paris.

Prompt: 黒い犬を連れた自画像に関して、どのように抽象が議論されていますか？英語で出力して下さい。


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黒い犬を連れた自画像

This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted.Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor.

Prompt: 黒い犬を連れた自画像に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


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黒い犬を連れた自画像

This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted.Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor.

Prompt: 黒い犬を連れた自画像の歴史を説明してください。英語で出力して下さい。


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黒い犬を連れた自画像

This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted.Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor.

Prompt: 黒い犬を連れた自画像はどのように歴史を説明していますか？英語で出力して下さい。


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黒い犬を連れた自画像

This painting was one of the first by Courbet to be accepted at the Paris Salon. In the official catalog of the exhibition, opened in March 1844 at the Louvre Palace, it appears under number 414, with the title Portrait of the Author. Of the three paintings that he submitted, only this one was accepted.Analysis of the canvas reveals that it is the result of a re-use. Thus, we see on the contours the traces of a coat hanger, so as to present the painting in a rounded form. It is assumed that this painting was presented to the Salon public in the slightly rounded form. The artist is seen di sotto, involving a sunken viewer, suggesting that the painting may have been intended for an overdoor.

Prompt: 黒い犬を連れた自画像に関して、どのように歴史が議論されていますか？英語で出力して下さい。


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黒い犬を連れた自画像

A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".

Prompt: 黒い犬を連れた自画像に焦点を当てて、その説明を説明してください。英語で出力して下さい。


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黒い犬を連れた自画像

A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".

Prompt: 黒い犬を連れた自画像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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黒い犬を連れた自画像

A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".

Prompt: 黒い犬を連れた自画像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。


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黒い犬を連れた自画像

A young man, Courbet himself, wearing a hat sits on the ground, flanked by a black dog. The character, leaning against a large rock, looks at the viewer while holding a pipe. Behind him a book and a cane are placed among the grass. In the distance are a landscape, a valley, trees and hills, overlooked by blue and cloudy skies. On the left are inscribed in blue the signature "Gustave Courbet" and a date, "1842".

Prompt: 黒い犬を連れた自画像に関して、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。


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黒い犬を連れた自画像

Courbet presents himself in the fashion of the time, with his bohemianism symbolized by his black cape hemmed in light, striped trousers, and long hair, in a landscape of his native land, which was assumed to be the Bonnevaux valley, but which is undoubtedly partly imaginary. By settling in the open air, he follows the process of the English portrait painters of the 18th century, which was in vogue during the Romantic era.The style and the motif of the painting are noticeably inspired by Théodore Géricault, but also by the "serpentine line" of William Hogarth.

Prompt: 黒い犬を連れた自画像に焦点を当てて、その分析を説明してください。英語で出力して下さい。


section

黒い犬を連れた自画像

Courbet presents himself in the fashion of the time, with his bohemianism symbolized by his black cape hemmed in light, striped trousers, and long hair, in a landscape of his native land, which was assumed to be the Bonnevaux valley, but which is undoubtedly partly imaginary. By settling in the open air, he follows the process of the English portrait painters of the 18th century, which was in vogue during the Romantic era.The style and the motif of the painting are noticeably inspired by Théodore Géricault, but also by the "serpentine line" of William Hogarth.

Prompt: 黒い犬を連れた自画像の分析を説明してください。英語で出力して下さい。


section

黒い犬を連れた自画像

Courbet presents himself in the fashion of the time, with his bohemianism symbolized by his black cape hemmed in light, striped trousers, and long hair, in a landscape of his native land, which was assumed to be the Bonnevaux valley, but which is undoubtedly partly imaginary. By settling in the open air, he follows the process of the English portrait painters of the 18th century, which was in vogue during the Romantic era.The style and the motif of the painting are noticeably inspired by Théodore Géricault, but also by the "serpentine line" of William Hogarth.

Prompt: 黒い犬を連れた自画像はどのように分析を説明していますか？英語で出力して下さい。


section

黒い犬を連れた自画像

Courbet presents himself in the fashion of the time, with his bohemianism symbolized by his black cape hemmed in light, striped trousers, and long hair, in a landscape of his native land, which was assumed to be the Bonnevaux valley, but which is undoubtedly partly imaginary. By settling in the open air, he follows the process of the English portrait painters of the 18th century, which was in vogue during the Romantic era.The style and the motif of the painting are noticeably inspired by Théodore Géricault, but also by the "serpentine line" of William Hogarth.

Prompt: 黒い犬を連れた自画像に関して、どのように分析が議論されていますか？英語で出力して下さい。


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デモクリトス

Democritus is an oil on canvas painting by Jusepe de Ribera, executed in 1630, now in the Museo del Prado, in Madrid. It is believed to depict the Ancient Greek philosopher Democritus.

Prompt: デモクリトスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Democritus
Jusepe de Ribera
Madrid
Museo del Prado


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デモクリトス

Democritus is an oil on canvas painting by Jusepe de Ribera, executed in 1630, now in the Museo del Prado, in Madrid. It is believed to depict the Ancient Greek philosopher Democritus.

Prompt: デモクリトスの抽象を説明してください。英語で出力して下さい。

Democritus
Jusepe de Ribera
Madrid
Museo del Prado


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デモクリトス

Democritus is an oil on canvas painting by Jusepe de Ribera, executed in 1630, now in the Museo del Prado, in Madrid. It is believed to depict the Ancient Greek philosopher Democritus.

Prompt: デモクリトス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。

Democritus
Jusepe de Ribera
Madrid
Museo del Prado


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デモクリトス

Democritus is an oil on canvas painting by Jusepe de Ribera, executed in 1630, now in the Museo del Prado, in Madrid. It is believed to depict the Ancient Greek philosopher Democritus.

Prompt: デモクリトスに関して、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。

Democritus
Jusepe de Ribera
Madrid
Museo del Prado


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デモクリトス

Although tradition has always recognized the character portrayed as Archimedes, due to the compass of his hand and the papers with geometric signs that surround him, Delphine Fitz Darby proposed in 1962 to identify him as Democritus, because of the frank smile he shows since, precisely, Democritus he is known as "the philosopher who laughs". It could then be the painting known as Philosopher with Compass, a work whose whereabouts is unknown and is known to have belonged to the Duke of Alcalá, Ribera's main client between 1629 and 1631. In any case, Archimedes or Democritus, the work would be the oldest of the paintings that make the series "Ragged Philosophers".The first documentary evidence of the work places it in El Escorial in 1764 and later it will become part of the collections of the Prado Museum where it is kept.

Prompt: デモクリトスに焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

デモクリトス

Although tradition has always recognized the character portrayed as Archimedes, due to the compass of his hand and the papers with geometric signs that surround him, Delphine Fitz Darby proposed in 1962 to identify him as Democritus, because of the frank smile he shows since, precisely, Democritus he is known as "the philosopher who laughs". It could then be the painting known as Philosopher with Compass, a work whose whereabouts is unknown and is known to have belonged to the Duke of Alcalá, Ribera's main client between 1629 and 1631. In any case, Archimedes or Democritus, the work would be the oldest of the paintings that make the series "Ragged Philosophers".The first documentary evidence of the work places it in El Escorial in 1764 and later it will become part of the collections of the Prado Museum where it is kept.

Prompt: デモクリトスの歴史を説明してください。英語で出力して下さい。


section

デモクリトス

Although tradition has always recognized the character portrayed as Archimedes, due to the compass of his hand and the papers with geometric signs that surround him, Delphine Fitz Darby proposed in 1962 to identify him as Democritus, because of the frank smile he shows since, precisely, Democritus he is known as "the philosopher who laughs". It could then be the painting known as Philosopher with Compass, a work whose whereabouts is unknown and is known to have belonged to the Duke of Alcalá, Ribera's main client between 1629 and 1631. In any case, Archimedes or Democritus, the work would be the oldest of the paintings that make the series "Ragged Philosophers".The first documentary evidence of the work places it in El Escorial in 1764 and later it will become part of the collections of the Prado Museum where it is kept.

Prompt: デモクリトスはどのように歴史を説明していますか？英語で出力して下さい。


section

デモクリトス

Although tradition has always recognized the character portrayed as Archimedes, due to the compass of his hand and the papers with geometric signs that surround him, Delphine Fitz Darby proposed in 1962 to identify him as Democritus, because of the frank smile he shows since, precisely, Democritus he is known as "the philosopher who laughs". It could then be the painting known as Philosopher with Compass, a work whose whereabouts is unknown and is known to have belonged to the Duke of Alcalá, Ribera's main client between 1629 and 1631. In any case, Archimedes or Democritus, the work would be the oldest of the paintings that make the series "Ragged Philosophers".The first documentary evidence of the work places it in El Escorial in 1764 and later it will become part of the collections of the Prado Museum where it is kept.

Prompt: デモクリトスに関して、どのように歴史が議論されていますか？英語で出力して下さい。


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デモクリトス

The philosopher is portrayed half-length, dressed as a beggar and holding a compass with his right hand, while with his left he holds some papers where some geometric symbols are represented. On the spine of the book, lower right, the signature and the date are written, "Jusepe de Ribera español / F 1630". The painting is cropped on the right side.His smiling face with deep wrinkles and his bony long-fingered hands are the focus of the composition and are rendered with great fidelity and great naturalism. A light enters from the left, bathing the philosopher's body, which together with a halo of lighter paint around the head and the neutral background highlights him, giving the composition a greater perspective and realism. It is believed that Ribera had a model pose for the picture, possibly someone anonymous found on the street, whom he portrayed as if he were a nobleman or a king.Nícola Spinosa defines it in the study of his work: "A true portrait of any peasant found in the alleys of viceregal Naples, in which the painter knew how to capture precisely the signs of the ancient Greco-Levantine origin, inserted in a context of irreducible vitality and typically Mediterranean humanity."

Prompt: デモクリトスに焦点を当てて、その説明とスタイルを説明してください。英語で出力して下さい。


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デモクリトス

The philosopher is portrayed half-length, dressed as a beggar and holding a compass with his right hand, while with his left he holds some papers where some geometric symbols are represented. On the spine of the book, lower right, the signature and the date are written, "Jusepe de Ribera español / F 1630". The painting is cropped on the right side.His smiling face with deep wrinkles and his bony long-fingered hands are the focus of the composition and are rendered with great fidelity and great naturalism. A light enters from the left, bathing the philosopher's body, which together with a halo of lighter paint around the head and the neutral background highlights him, giving the composition a greater perspective and realism. It is believed that Ribera had a model pose for the picture, possibly someone anonymous found on the street, whom he portrayed as if he were a nobleman or a king.Nícola Spinosa defines it in the study of his work: "A true portrait of any peasant found in the alleys of viceregal Naples, in which the painter knew how to capture precisely the signs of the ancient Greco-Levantine origin, inserted in a context of irreducible vitality and typically Mediterranean humanity."

Prompt: デモクリトスの説明とスタイルを説明してください。英語で出力して下さい。


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デモクリトス

The philosopher is portrayed half-length, dressed as a beggar and holding a compass with his right hand, while with his left he holds some papers where some geometric symbols are represented. On the spine of the book, lower right, the signature and the date are written, "Jusepe de Ribera español / F 1630". The painting is cropped on the right side.His smiling face with deep wrinkles and his bony long-fingered hands are the focus of the composition and are rendered with great fidelity and great naturalism. A light enters from the left, bathing the philosopher's body, which together with a halo of lighter paint around the head and the neutral background highlights him, giving the composition a greater perspective and realism. It is believed that Ribera had a model pose for the picture, possibly someone anonymous found on the street, whom he portrayed as if he were a nobleman or a king.Nícola Spinosa defines it in the study of his work: "A true portrait of any peasant found in the alleys of viceregal Naples, in which the painter knew how to capture precisely the signs of the ancient Greco-Levantine origin, inserted in a context of irreducible vitality and typically Mediterranean humanity."

Prompt: デモクリトスはどのように説明とスタイルを説明していますか？英語で出力して下さい。


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デモクリトス

The philosopher is portrayed half-length, dressed as a beggar and holding a compass with his right hand, while with his left he holds some papers where some geometric symbols are represented. On the spine of the book, lower right, the signature and the date are written, "Jusepe de Ribera español / F 1630". The painting is cropped on the right side.His smiling face with deep wrinkles and his bony long-fingered hands are the focus of the composition and are rendered with great fidelity and great naturalism. A light enters from the left, bathing the philosopher's body, which together with a halo of lighter paint around the head and the neutral background highlights him, giving the composition a greater perspective and realism. It is believed that Ribera had a model pose for the picture, possibly someone anonymous found on the street, whom he portrayed as if he were a nobleman or a king.Nícola Spinosa defines it in the study of his work: "A true portrait of any peasant found in the alleys of viceregal Naples, in which the painter knew how to capture precisely the signs of the ancient Greco-Levantine origin, inserted in a context of irreducible vitality and typically Mediterranean humanity."

Prompt: デモクリトスに関して、どのように説明とスタイルが議論されていますか？英語で出力して下さい。


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デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Washington Crossing the Delaware}}Washington Crossing the Delaware is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze.The paintings commemorate General George Washington's crossing of the Delaware River with the Continental Army on the night of December 25–26, 1776, during the American Revolutionary War. That action was the first move in a surprise attack and victory against  Hessian forces at the Battle of Trenton in New Jersey on the morning of December 26.The original was part of the collection at the Kunsthalle in Bremen, Germany, and was destroyed in a bombing raid in 1942, during World War II. Leutze painted two more versions, one of which is now in the Metropolitan Museum of Art in New York City.  The other was in the West Wing reception area of the White House in Washington, D.C., but in March 2015, was purchased and put on display at the Minnesota Marine Art Museum in Winona, Minnesota. In April 2022 Christie's announced that the smaller painting would be sold at auction the following month, for a pre-sale estimate of $15 million to $20 million. It sold for $43 million.

Prompt: デラウェア川を渡るワシントンに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Washington Crossing the Delaware}}Washington Crossing the Delaware is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze.The paintings commemorate General George Washington's crossing of the Delaware River with the Continental Army on the night of December 25–26, 1776, during the American Revolutionary War. That action was the first move in a surprise attack and victory against  Hessian forces at the Battle of Trenton in New Jersey on the morning of December 26.The original was part of the collection at the Kunsthalle in Bremen, Germany, and was destroyed in a bombing raid in 1942, during World War II. Leutze painted two more versions, one of which is now in the Metropolitan Museum of Art in New York City.  The other was in the West Wing reception area of the White House in Washington, D.C., but in March 2015, was purchased and put on display at the Minnesota Marine Art Museum in Winona, Minnesota. In April 2022 Christie's announced that the smaller painting would be sold at auction the following month, for a pre-sale estimate of $15 million to $20 million. It sold for $43 million.

Prompt: デラウェア川を渡るワシントンの抽象を説明してください。英語で出力して下さい。


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Washington Crossing the Delaware}}Washington Crossing the Delaware is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze.The paintings commemorate General George Washington's crossing of the Delaware River with the Continental Army on the night of December 25–26, 1776, during the American Revolutionary War. That action was the first move in a surprise attack and victory against  Hessian forces at the Battle of Trenton in New Jersey on the morning of December 26.The original was part of the collection at the Kunsthalle in Bremen, Germany, and was destroyed in a bombing raid in 1942, during World War II. Leutze painted two more versions, one of which is now in the Metropolitan Museum of Art in New York City.  The other was in the West Wing reception area of the White House in Washington, D.C., but in March 2015, was purchased and put on display at the Minnesota Marine Art Museum in Winona, Minnesota. In April 2022 Christie's announced that the smaller painting would be sold at auction the following month, for a pre-sale estimate of $15 million to $20 million. It sold for $43 million.

Prompt: デラウェア川を渡るワシントンはどのように抽象を説明していますか？英語で出力して下さい。


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Washington Crossing the Delaware}}Washington Crossing the Delaware is the title of three 1851 oil-on-canvas paintings by the German-American artist Emanuel Leutze.The paintings commemorate General George Washington's crossing of the Delaware River with the Continental Army on the night of December 25–26, 1776, during the American Revolutionary War. That action was the first move in a surprise attack and victory against  Hessian forces at the Battle of Trenton in New Jersey on the morning of December 26.The original was part of the collection at the Kunsthalle in Bremen, Germany, and was destroyed in a bombing raid in 1942, during World War II. Leutze painted two more versions, one of which is now in the Metropolitan Museum of Art in New York City.  The other was in the West Wing reception area of the White House in Washington, D.C., but in March 2015, was purchased and put on display at the Minnesota Marine Art Museum in Winona, Minnesota. In April 2022 Christie's announced that the smaller painting would be sold at auction the following month, for a pre-sale estimate of $15 million to $20 million. It sold for $43 million.

Prompt: デラウェア川を渡るワシントンに関して、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。


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デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Emanuel Leutze grew up in America, then returned to Germany as an adult, where he conceived the idea for this painting during the Revolutions of 1848. Hoping to encourage Europe's liberal reformers through the example of the American Revolution, and using American tourists and art students as models and assistants, among them Worthington Whittredge and Andreas Achenbach, Leutze finished the first painting in 1850. Just after it was completed, the first version was damaged by fire in his studio, subsequently restored, and acquired by the Kunsthalle Bremen. On September 5, 1942, during World War II, it was destroyed in a bombing raid by the Allied forces.The second painting, a full-sized replica of the first, was begun in 1850 and placed on exhibition in New York in October 1851. More than 50,000 people viewed it. The painting was originally bought by Marshall O. Roberts for $10,000 . After changing ownership several times, it was finally donated to the Metropolitan Museum of Art by John Stewart Kennedy in 1897. Washington Rallying the Troops at Monmouth, Leutze's companion piece to Washington Crossing the Delaware is displayed in the Heyns  Reading Room of Doe Library at the University of California, Berkeley.The painting was lent at least twice in its history. In the early 1950s, it was part of an exhibition in Dallas, Texas. Then, beginning in 1952, it was exhibited for several years at the United Methodist Church in Washington Crossing, Pennsylvania, not far from the scene of the painting. Today, it is on exhibition at the Metropolitan Museum of Art.In January 2002, the painting was defaced when a former Metropolitan Museum of Art guard glued a picture of the September 11 attacks to it. No major damage was caused to the painting.The simple frame that had been with the painting for over 90 years turned out not to be the original frame that Leutze designed.  A photograph taken by Mathew Brady in 1864 was found in the New-York Historical Society in 2007 showing the painting in a spectacular eagle crested frame.  The 12 ft x 21 ft carved replica frame was created using this photo by Eli Wilner & Company in New York City. The carved eagle-topped crest alone is 14 ft wide.The third version of the painting, a smaller-scale version of the original, hung in the White House receiving room from 1979 to 2014. The painting was acquired by Mary Burrichter and Bob Kierlin, who contributed to the founding of the Minnesota Marine Art Museum in Winona, Minnesota, and put on display as the centerpiece of the museum's American collection.In May 2022, the third version of the painting was auctioned by Christie's and sold for $45 million.

Prompt: デラウェア川を渡るワシントンに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

American Revolution
Andreas Achenbach
Bremen
Christie's
Dallas
Emanuel Leutze
John Stewart Kennedy
Kunsthalle Bremen
Mathew Brady
Metropolitan Museum of Art
Minnesota Marine Art Museum
New York City
Revolutions of 1848
September 11 attacks
Metropolitan Museum of Art
University of California, Berkeley
Washington Crossing, Pennsylvania
White House
Winona, Minnesota
World War II
Worthington Whittredge


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Emanuel Leutze grew up in America, then returned to Germany as an adult, where he conceived the idea for this painting during the Revolutions of 1848. Hoping to encourage Europe's liberal reformers through the example of the American Revolution, and using American tourists and art students as models and assistants, among them Worthington Whittredge and Andreas Achenbach, Leutze finished the first painting in 1850. Just after it was completed, the first version was damaged by fire in his studio, subsequently restored, and acquired by the Kunsthalle Bremen. On September 5, 1942, during World War II, it was destroyed in a bombing raid by the Allied forces.The second painting, a full-sized replica of the first, was begun in 1850 and placed on exhibition in New York in October 1851. More than 50,000 people viewed it. The painting was originally bought by Marshall O. Roberts for $10,000 . After changing ownership several times, it was finally donated to the Metropolitan Museum of Art by John Stewart Kennedy in 1897. Washington Rallying the Troops at Monmouth, Leutze's companion piece to Washington Crossing the Delaware is displayed in the Heyns  Reading Room of Doe Library at the University of California, Berkeley.The painting was lent at least twice in its history. In the early 1950s, it was part of an exhibition in Dallas, Texas. Then, beginning in 1952, it was exhibited for several years at the United Methodist Church in Washington Crossing, Pennsylvania, not far from the scene of the painting. Today, it is on exhibition at the Metropolitan Museum of Art.In January 2002, the painting was defaced when a former Metropolitan Museum of Art guard glued a picture of the September 11 attacks to it. No major damage was caused to the painting.The simple frame that had been with the painting for over 90 years turned out not to be the original frame that Leutze designed.  A photograph taken by Mathew Brady in 1864 was found in the New-York Historical Society in 2007 showing the painting in a spectacular eagle crested frame.  The 12 ft x 21 ft carved replica frame was created using this photo by Eli Wilner & Company in New York City. The carved eagle-topped crest alone is 14 ft wide.The third version of the painting, a smaller-scale version of the original, hung in the White House receiving room from 1979 to 2014. The painting was acquired by Mary Burrichter and Bob Kierlin, who contributed to the founding of the Minnesota Marine Art Museum in Winona, Minnesota, and put on display as the centerpiece of the museum's American collection.In May 2022, the third version of the painting was auctioned by Christie's and sold for $45 million.

Prompt: デラウェア川を渡るワシントンの歴史を説明してください。英語で出力して下さい。

American Revolution
Andreas Achenbach
Bremen
Christie's
Dallas
Emanuel Leutze
John Stewart Kennedy
Kunsthalle Bremen
Mathew Brady
Metropolitan Museum of Art
Minnesota Marine Art Museum
New York City
Revolutions of 1848
September 11 attacks
Metropolitan Museum of Art
University of California, Berkeley
Washington Crossing, Pennsylvania
White House
Winona, Minnesota
World War II
Worthington Whittredge


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Emanuel Leutze grew up in America, then returned to Germany as an adult, where he conceived the idea for this painting during the Revolutions of 1848. Hoping to encourage Europe's liberal reformers through the example of the American Revolution, and using American tourists and art students as models and assistants, among them Worthington Whittredge and Andreas Achenbach, Leutze finished the first painting in 1850. Just after it was completed, the first version was damaged by fire in his studio, subsequently restored, and acquired by the Kunsthalle Bremen. On September 5, 1942, during World War II, it was destroyed in a bombing raid by the Allied forces.The second painting, a full-sized replica of the first, was begun in 1850 and placed on exhibition in New York in October 1851. More than 50,000 people viewed it. The painting was originally bought by Marshall O. Roberts for $10,000 . After changing ownership several times, it was finally donated to the Metropolitan Museum of Art by John Stewart Kennedy in 1897. Washington Rallying the Troops at Monmouth, Leutze's companion piece to Washington Crossing the Delaware is displayed in the Heyns  Reading Room of Doe Library at the University of California, Berkeley.The painting was lent at least twice in its history. In the early 1950s, it was part of an exhibition in Dallas, Texas. Then, beginning in 1952, it was exhibited for several years at the United Methodist Church in Washington Crossing, Pennsylvania, not far from the scene of the painting. Today, it is on exhibition at the Metropolitan Museum of Art.In January 2002, the painting was defaced when a former Metropolitan Museum of Art guard glued a picture of the September 11 attacks to it. No major damage was caused to the painting.The simple frame that had been with the painting for over 90 years turned out not to be the original frame that Leutze designed.  A photograph taken by Mathew Brady in 1864 was found in the New-York Historical Society in 2007 showing the painting in a spectacular eagle crested frame.  The 12 ft x 21 ft carved replica frame was created using this photo by Eli Wilner & Company in New York City. The carved eagle-topped crest alone is 14 ft wide.The third version of the painting, a smaller-scale version of the original, hung in the White House receiving room from 1979 to 2014. The painting was acquired by Mary Burrichter and Bob Kierlin, who contributed to the founding of the Minnesota Marine Art Museum in Winona, Minnesota, and put on display as the centerpiece of the museum's American collection.In May 2022, the third version of the painting was auctioned by Christie's and sold for $45 million.

Prompt: デラウェア川を渡るワシントンはどのように歴史を説明していますか？英語で出力して下さい。

American Revolution
Andreas Achenbach
Bremen
Christie's
Dallas
Emanuel Leutze
John Stewart Kennedy
Kunsthalle Bremen
Mathew Brady
Metropolitan Museum of Art
Minnesota Marine Art Museum
New York City
Revolutions of 1848
September 11 attacks
Metropolitan Museum of Art
University of California, Berkeley
Washington Crossing, Pennsylvania
White House
Winona, Minnesota
World War II
Worthington Whittredge


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Emanuel Leutze grew up in America, then returned to Germany as an adult, where he conceived the idea for this painting during the Revolutions of 1848. Hoping to encourage Europe's liberal reformers through the example of the American Revolution, and using American tourists and art students as models and assistants, among them Worthington Whittredge and Andreas Achenbach, Leutze finished the first painting in 1850. Just after it was completed, the first version was damaged by fire in his studio, subsequently restored, and acquired by the Kunsthalle Bremen. On September 5, 1942, during World War II, it was destroyed in a bombing raid by the Allied forces.The second painting, a full-sized replica of the first, was begun in 1850 and placed on exhibition in New York in October 1851. More than 50,000 people viewed it. The painting was originally bought by Marshall O. Roberts for $10,000 . After changing ownership several times, it was finally donated to the Metropolitan Museum of Art by John Stewart Kennedy in 1897. Washington Rallying the Troops at Monmouth, Leutze's companion piece to Washington Crossing the Delaware is displayed in the Heyns  Reading Room of Doe Library at the University of California, Berkeley.The painting was lent at least twice in its history. In the early 1950s, it was part of an exhibition in Dallas, Texas. Then, beginning in 1952, it was exhibited for several years at the United Methodist Church in Washington Crossing, Pennsylvania, not far from the scene of the painting. Today, it is on exhibition at the Metropolitan Museum of Art.In January 2002, the painting was defaced when a former Metropolitan Museum of Art guard glued a picture of the September 11 attacks to it. No major damage was caused to the painting.The simple frame that had been with the painting for over 90 years turned out not to be the original frame that Leutze designed.  A photograph taken by Mathew Brady in 1864 was found in the New-York Historical Society in 2007 showing the painting in a spectacular eagle crested frame.  The 12 ft x 21 ft carved replica frame was created using this photo by Eli Wilner & Company in New York City. The carved eagle-topped crest alone is 14 ft wide.The third version of the painting, a smaller-scale version of the original, hung in the White House receiving room from 1979 to 2014. The painting was acquired by Mary Burrichter and Bob Kierlin, who contributed to the founding of the Minnesota Marine Art Museum in Winona, Minnesota, and put on display as the centerpiece of the museum's American collection.In May 2022, the third version of the painting was auctioned by Christie's and sold for $45 million.

Prompt: デラウェア川を渡るワシントンに関して、どのように歴史が議論されていますか？英語で出力して下さい。

American Revolution
Andreas Achenbach
Bremen
Christie's
Dallas
Emanuel Leutze
John Stewart Kennedy
Kunsthalle Bremen
Mathew Brady
Metropolitan Museum of Art
Minnesota Marine Art Museum
New York City
Revolutions of 1848
September 11 attacks
Metropolitan Museum of Art
University of California, Berkeley
Washington Crossing, Pennsylvania
White House
Winona, Minnesota
World War II
Worthington Whittredge


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The painting is notable for its artistic composition. General Washington is emphasized by an unnaturally bright sky, while his face catches the upcoming sunlight. The colors consist of mostly dark tones, expected at dawn, and there are red highlights repeated throughout the painting. A foreshortening perspective and the distant boats all lend depth to the painting and emphasize the boat carrying Washington.The men in the boat represent a cross-section of the American colonies, including one in a Scottish bonnet and another of African descent facing backward next to each other in the front. A western rifleman is at the bow, two farmers in broad-brimmed hats are near the back , and one at the stern wearing what appears to be Native American clothing to symbolize that all people in the new United States of America were represented.According to the 1853 exhibition catalogue, the man standing next to Washington and holding the flag is Lieutenant James Monroe, future president of the United States, and the man leaning over the side is General Nathanael Greene. General Edward Hand is shown seated and holding his hat within the vessel.

Prompt: デラウェア川を渡るワシントンに焦点を当てて、その作曲を説明してください。英語で出力して下さい。

Edward Hand
James Monroe
Nathanael Greene


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The painting is notable for its artistic composition. General Washington is emphasized by an unnaturally bright sky, while his face catches the upcoming sunlight. The colors consist of mostly dark tones, expected at dawn, and there are red highlights repeated throughout the painting. A foreshortening perspective and the distant boats all lend depth to the painting and emphasize the boat carrying Washington.The men in the boat represent a cross-section of the American colonies, including one in a Scottish bonnet and another of African descent facing backward next to each other in the front. A western rifleman is at the bow, two farmers in broad-brimmed hats are near the back , and one at the stern wearing what appears to be Native American clothing to symbolize that all people in the new United States of America were represented.According to the 1853 exhibition catalogue, the man standing next to Washington and holding the flag is Lieutenant James Monroe, future president of the United States, and the man leaning over the side is General Nathanael Greene. General Edward Hand is shown seated and holding his hat within the vessel.

Prompt: デラウェア川を渡るワシントンの作曲を説明してください。英語で出力して下さい。

Edward Hand
James Monroe
Nathanael Greene


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The painting is notable for its artistic composition. General Washington is emphasized by an unnaturally bright sky, while his face catches the upcoming sunlight. The colors consist of mostly dark tones, expected at dawn, and there are red highlights repeated throughout the painting. A foreshortening perspective and the distant boats all lend depth to the painting and emphasize the boat carrying Washington.The men in the boat represent a cross-section of the American colonies, including one in a Scottish bonnet and another of African descent facing backward next to each other in the front. A western rifleman is at the bow, two farmers in broad-brimmed hats are near the back , and one at the stern wearing what appears to be Native American clothing to symbolize that all people in the new United States of America were represented.According to the 1853 exhibition catalogue, the man standing next to Washington and holding the flag is Lieutenant James Monroe, future president of the United States, and the man leaning over the side is General Nathanael Greene. General Edward Hand is shown seated and holding his hat within the vessel.

Prompt: デラウェア川を渡るワシントンはどのように作曲を説明していますか？英語で出力して下さい。

Edward Hand
James Monroe
Nathanael Greene


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The painting is notable for its artistic composition. General Washington is emphasized by an unnaturally bright sky, while his face catches the upcoming sunlight. The colors consist of mostly dark tones, expected at dawn, and there are red highlights repeated throughout the painting. A foreshortening perspective and the distant boats all lend depth to the painting and emphasize the boat carrying Washington.The men in the boat represent a cross-section of the American colonies, including one in a Scottish bonnet and another of African descent facing backward next to each other in the front. A western rifleman is at the bow, two farmers in broad-brimmed hats are near the back , and one at the stern wearing what appears to be Native American clothing to symbolize that all people in the new United States of America were represented.According to the 1853 exhibition catalogue, the man standing next to Washington and holding the flag is Lieutenant James Monroe, future president of the United States, and the man leaning over the side is General Nathanael Greene. General Edward Hand is shown seated and holding his hat within the vessel.

Prompt: デラウェア川を渡るワシントンに関して、どのように作曲が議論されていますか？英語で出力して下さい。

Edward Hand
James Monroe
Nathanael Greene


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The flag depicted is an early version of the flag of the United States , the design of which did not exist at the time of Washington's crossing. The flag's design was first specified in the June 14, 1777, Flag Resolution of the Second Continental Congress, and flew for the first time on September 3, 1777—well after Washington's crossing in 1776. A more historically accurate flag would have been the Grand Union Flag, hoisted by Washington on January 1, 1776, at Somerville, Massachusetts, as the standard of the Continental Army and the first national flag.Washington's stance, intended to depict him in a heroic fashion, would have been very hard to maintain in the choppy conditions of the crossing. Considering that he is standing in a rowboat, such a stance would have risked capsizing the boat. However, historian David Hackett Fischer has argued that everyone would have been standing up to avoid the icy water in the bottom of the boat, as the actual Durham boats used were much larger, had a flat bottom, higher sides, a broad beam  of some eight feet and a draft of 24–30 inches.Washington's boats were actually substantially larger than the boat in the painting. Washington and his men sailed on a cargo ships that ranged anywhere between 40 and 60 feet long . Also on the ships were heavy artillery and horses, which would not have fit in the boat Leutze painted.

Prompt: デラウェア川を渡るワシントンに焦点を当てて、その歴史的不正確さを説明してください。英語で出力して下さい。

Continental Army
David Hackett Fischer
Durham boat
Grand Union Flag
Second Continental Congress
Somerville, Massachusetts


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The flag depicted is an early version of the flag of the United States , the design of which did not exist at the time of Washington's crossing. The flag's design was first specified in the June 14, 1777, Flag Resolution of the Second Continental Congress, and flew for the first time on September 3, 1777—well after Washington's crossing in 1776. A more historically accurate flag would have been the Grand Union Flag, hoisted by Washington on January 1, 1776, at Somerville, Massachusetts, as the standard of the Continental Army and the first national flag.Washington's stance, intended to depict him in a heroic fashion, would have been very hard to maintain in the choppy conditions of the crossing. Considering that he is standing in a rowboat, such a stance would have risked capsizing the boat. However, historian David Hackett Fischer has argued that everyone would have been standing up to avoid the icy water in the bottom of the boat, as the actual Durham boats used were much larger, had a flat bottom, higher sides, a broad beam  of some eight feet and a draft of 24–30 inches.Washington's boats were actually substantially larger than the boat in the painting. Washington and his men sailed on a cargo ships that ranged anywhere between 40 and 60 feet long . Also on the ships were heavy artillery and horses, which would not have fit in the boat Leutze painted.

Prompt: デラウェア川を渡るワシントンの歴史的不正確さを説明してください。英語で出力して下さい。

Continental Army
David Hackett Fischer
Durham boat
Grand Union Flag
Second Continental Congress
Somerville, Massachusetts


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The flag depicted is an early version of the flag of the United States , the design of which did not exist at the time of Washington's crossing. The flag's design was first specified in the June 14, 1777, Flag Resolution of the Second Continental Congress, and flew for the first time on September 3, 1777—well after Washington's crossing in 1776. A more historically accurate flag would have been the Grand Union Flag, hoisted by Washington on January 1, 1776, at Somerville, Massachusetts, as the standard of the Continental Army and the first national flag.Washington's stance, intended to depict him in a heroic fashion, would have been very hard to maintain in the choppy conditions of the crossing. Considering that he is standing in a rowboat, such a stance would have risked capsizing the boat. However, historian David Hackett Fischer has argued that everyone would have been standing up to avoid the icy water in the bottom of the boat, as the actual Durham boats used were much larger, had a flat bottom, higher sides, a broad beam  of some eight feet and a draft of 24–30 inches.Washington's boats were actually substantially larger than the boat in the painting. Washington and his men sailed on a cargo ships that ranged anywhere between 40 and 60 feet long . Also on the ships were heavy artillery and horses, which would not have fit in the boat Leutze painted.

Prompt: デラウェア川を渡るワシントンはどのように歴史的不正確さを説明していますか？英語で出力して下さい。

Continental Army
David Hackett Fischer
Durham boat
Grand Union Flag
Second Continental Congress
Somerville, Massachusetts


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The flag depicted is an early version of the flag of the United States , the design of which did not exist at the time of Washington's crossing. The flag's design was first specified in the June 14, 1777, Flag Resolution of the Second Continental Congress, and flew for the first time on September 3, 1777—well after Washington's crossing in 1776. A more historically accurate flag would have been the Grand Union Flag, hoisted by Washington on January 1, 1776, at Somerville, Massachusetts, as the standard of the Continental Army and the first national flag.Washington's stance, intended to depict him in a heroic fashion, would have been very hard to maintain in the choppy conditions of the crossing. Considering that he is standing in a rowboat, such a stance would have risked capsizing the boat. However, historian David Hackett Fischer has argued that everyone would have been standing up to avoid the icy water in the bottom of the boat, as the actual Durham boats used were much larger, had a flat bottom, higher sides, a broad beam  of some eight feet and a draft of 24–30 inches.Washington's boats were actually substantially larger than the boat in the painting. Washington and his men sailed on a cargo ships that ranged anywhere between 40 and 60 feet long . Also on the ships were heavy artillery and horses, which would not have fit in the boat Leutze painted.

Prompt: デラウェア川を渡るワシントンに関して、どのように歴史的不正確さが議論されていますか？英語で出力して下さい。

Continental Army
David Hackett Fischer
Durham boat
Grand Union Flag
Second Continental Congress
Somerville, Massachusetts


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

"Washington Crossing the Delaware" is a 1936 sonnet by David Shulman. It refers to the scene in the painting, and is a 14-line rhyming sonnet of which every line is an anagram of the title.In 1953, the American pop artist rry Rivers painted Washington Crossing the Delaware, which is in the collection of The Museum of Modern Art in New York City. The painting has also inspired copies by Roy Lichtenstein  and Robert Colescott . Grant Wood makes direct use of Leutze's painting in his own Daughters of Revolution.  The painting is a direct jab at the Daughters of the American Revolution, scrutinizing what Wood interpreted as their unfounded elitism.William H. Powell produced a painting that owes an artistic debt to Leutze's work, depicting Oliver Perry transferring command from one ship to another during the Battle of ke Erie during the War of 1812. The original painting now hangs in the Ohio Statehouse, and Powell later created a larger, more light-toned rendering of the same subject which hangs in the U.S. Capitol in Washington, D.C. In both of Powell's works, Perry is shown standing in a small boat rowed by several men in uniform. The Washington painting shows the direction of travel from right to left, and the Perry image shows a reverse direction of motion, but the two compositions are otherwise similar. Both paintings feature one occupant of the boat with a bandaged head.Liverpool born pop artist, Dirty Hans's painting "British Invasion" showing various rock and pop cultural icons from the 1960s, 70s and 80s in a boat crossing the Hudson River in New York and depicting David Bowie as a proxy for George Washington, appears to have drawn heavy influence from this painting

Prompt: デラウェア川を渡るワシントンに焦点を当てて、その影響を説明してください。英語で出力して下さい。

American Revolution
Daughters of the American Revolution
David Bowie
David Shulman
Dirty Hans
George Washington
Grant Wood
Liverpool
New York City
Ohio Statehouse
Robert Colescott
Roy Lichtenstein
Museum of Modern Art
War of 1812
Washington, D.C.


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

"Washington Crossing the Delaware" is a 1936 sonnet by David Shulman. It refers to the scene in the painting, and is a 14-line rhyming sonnet of which every line is an anagram of the title.In 1953, the American pop artist rry Rivers painted Washington Crossing the Delaware, which is in the collection of The Museum of Modern Art in New York City. The painting has also inspired copies by Roy Lichtenstein  and Robert Colescott . Grant Wood makes direct use of Leutze's painting in his own Daughters of Revolution.  The painting is a direct jab at the Daughters of the American Revolution, scrutinizing what Wood interpreted as their unfounded elitism.William H. Powell produced a painting that owes an artistic debt to Leutze's work, depicting Oliver Perry transferring command from one ship to another during the Battle of ke Erie during the War of 1812. The original painting now hangs in the Ohio Statehouse, and Powell later created a larger, more light-toned rendering of the same subject which hangs in the U.S. Capitol in Washington, D.C. In both of Powell's works, Perry is shown standing in a small boat rowed by several men in uniform. The Washington painting shows the direction of travel from right to left, and the Perry image shows a reverse direction of motion, but the two compositions are otherwise similar. Both paintings feature one occupant of the boat with a bandaged head.Liverpool born pop artist, Dirty Hans's painting "British Invasion" showing various rock and pop cultural icons from the 1960s, 70s and 80s in a boat crossing the Hudson River in New York and depicting David Bowie as a proxy for George Washington, appears to have drawn heavy influence from this painting

Prompt: デラウェア川を渡るワシントンの影響を説明してください。英語で出力して下さい。

American Revolution
Daughters of the American Revolution
David Bowie
David Shulman
Dirty Hans
George Washington
Grant Wood
Liverpool
New York City
Ohio Statehouse
Robert Colescott
Roy Lichtenstein
Museum of Modern Art
War of 1812
Washington, D.C.


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

"Washington Crossing the Delaware" is a 1936 sonnet by David Shulman. It refers to the scene in the painting, and is a 14-line rhyming sonnet of which every line is an anagram of the title.In 1953, the American pop artist rry Rivers painted Washington Crossing the Delaware, which is in the collection of The Museum of Modern Art in New York City. The painting has also inspired copies by Roy Lichtenstein  and Robert Colescott . Grant Wood makes direct use of Leutze's painting in his own Daughters of Revolution.  The painting is a direct jab at the Daughters of the American Revolution, scrutinizing what Wood interpreted as their unfounded elitism.William H. Powell produced a painting that owes an artistic debt to Leutze's work, depicting Oliver Perry transferring command from one ship to another during the Battle of ke Erie during the War of 1812. The original painting now hangs in the Ohio Statehouse, and Powell later created a larger, more light-toned rendering of the same subject which hangs in the U.S. Capitol in Washington, D.C. In both of Powell's works, Perry is shown standing in a small boat rowed by several men in uniform. The Washington painting shows the direction of travel from right to left, and the Perry image shows a reverse direction of motion, but the two compositions are otherwise similar. Both paintings feature one occupant of the boat with a bandaged head.Liverpool born pop artist, Dirty Hans's painting "British Invasion" showing various rock and pop cultural icons from the 1960s, 70s and 80s in a boat crossing the Hudson River in New York and depicting David Bowie as a proxy for George Washington, appears to have drawn heavy influence from this painting

Prompt: デラウェア川を渡るワシントン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。

American Revolution
Daughters of the American Revolution
David Bowie
David Shulman
Dirty Hans
George Washington
Grant Wood
Liverpool
New York City
Ohio Statehouse
Robert Colescott
Roy Lichtenstein
Museum of Modern Art
War of 1812
Washington, D.C.


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

"Washington Crossing the Delaware" is a 1936 sonnet by David Shulman. It refers to the scene in the painting, and is a 14-line rhyming sonnet of which every line is an anagram of the title.In 1953, the American pop artist rry Rivers painted Washington Crossing the Delaware, which is in the collection of The Museum of Modern Art in New York City. The painting has also inspired copies by Roy Lichtenstein  and Robert Colescott . Grant Wood makes direct use of Leutze's painting in his own Daughters of Revolution.  The painting is a direct jab at the Daughters of the American Revolution, scrutinizing what Wood interpreted as their unfounded elitism.William H. Powell produced a painting that owes an artistic debt to Leutze's work, depicting Oliver Perry transferring command from one ship to another during the Battle of ke Erie during the War of 1812. The original painting now hangs in the Ohio Statehouse, and Powell later created a larger, more light-toned rendering of the same subject which hangs in the U.S. Capitol in Washington, D.C. In both of Powell's works, Perry is shown standing in a small boat rowed by several men in uniform. The Washington painting shows the direction of travel from right to left, and the Perry image shows a reverse direction of motion, but the two compositions are otherwise similar. Both paintings feature one occupant of the boat with a bandaged head.Liverpool born pop artist, Dirty Hans's painting "British Invasion" showing various rock and pop cultural icons from the 1960s, 70s and 80s in a boat crossing the Hudson River in New York and depicting David Bowie as a proxy for George Washington, appears to have drawn heavy influence from this painting

Prompt: デラウェア川を渡るワシントンに関して、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。

American Revolution
Daughters of the American Revolution
David Bowie
David Shulman
Dirty Hans
George Washington
Grant Wood
Liverpool
New York City
Ohio Statehouse
Robert Colescott
Roy Lichtenstein
Museum of Modern Art
War of 1812
Washington, D.C.


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The Passage of the Delaware, 1819 painting by Thomas Sully Art in the White House

Prompt: デラウェア川を渡るワシントンに焦点を当てて、その参照を説明してください。英語で出力して下さい。

Art in the White House
The Passage of the Delaware
Thomas Sully
White House


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The Passage of the Delaware, 1819 painting by Thomas Sully Art in the White House

Prompt: デラウェア川を渡るワシントンの参照を説明してください。英語で出力して下さい。

Art in the White House
The Passage of the Delaware
Thomas Sully
White House


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The Passage of the Delaware, 1819 painting by Thomas Sully Art in the White House

Prompt: デラウェア川を渡るワシントン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。

Art in the White House
The Passage of the Delaware
Thomas Sully
White House


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

The Passage of the Delaware, 1819 painting by Thomas Sully Art in the White House

Prompt: デラウェア川を渡るワシントンに関して、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。

Art in the White House
The Passage of the Delaware
Thomas Sully
White House


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Anne Hawkes Hutton, Portrait of Patriotism: Washington Crossing the Delaware. Chilton Book Company, 1975. .  A detailed history of the painting, the actual crossing of the Delaware by American forces, and the life of Emanuel Gottlieb Leutze.

Prompt: デラウェア川を渡るワシントンに焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Anne Hawkes Hutton, Portrait of Patriotism: Washington Crossing the Delaware. Chilton Book Company, 1975. .  A detailed history of the painting, the actual crossing of the Delaware by American forces, and the life of Emanuel Gottlieb Leutze.

Prompt: デラウェア川を渡るワシントンの情報源を説明してください。英語で出力して下さい。


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Anne Hawkes Hutton, Portrait of Patriotism: Washington Crossing the Delaware. Chilton Book Company, 1975. .  A detailed history of the painting, the actual crossing of the Delaware by American forces, and the life of Emanuel Gottlieb Leutze.

Prompt: デラウェア川を渡るワシントンはどのように情報源を説明していますか？英語で出力して下さい。


section

デラウェア川を渡るワシントン

Washington Crossing the Delaware (1851 paintings)

Anne Hawkes Hutton, Portrait of Patriotism: Washington Crossing the Delaware. Chilton Book Company, 1975. .  A detailed history of the painting, the actual crossing of the Delaware by American forces, and the life of Emanuel Gottlieb Leutze.

Prompt: デラウェア川を渡るワシントンに関して、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。


section

ヴェネツィアの祝宴

25; G 135;  6;  146;  197;  180; F A34;  96}}Fêtes Vénitiennes is a 1719 painting by Antoine Watteau, now in the Scottish National Gallery in Edinburgh, to which it was bequeathed in 1861 by dy Murray of Henderland, widow of John Murray, Lord Murray. It takes its title from a 1732 engraving of the work by urent Cars and is derived from the Venetian styles of dress and dancing shown in the work, the former inspired by the commedia dell'arte. It belongs to the fêtes galantes genre created by Watteau.The main dancer in the centre was thought to be the Comédie-Française actress Charlotte Desmares, a mistress of the Duc d'Orleans, whilst some identify the dancer in the black hat as the Flemish painter Nicolas Vleughels, a friend of Watteau. These two dancers are shown dancing a minuet, with other figures sitting in the background. These include a man courting a woman, two women talking to an actor and a presumed self-portrait of the painter as a musician holding a set of bagpipes – these had had a sexual symbolism since the Middle Ages, such as in Hieronymus Bosch's The Garden of Earthly Delights. Behind this seated group are two more people and a fountain.

Prompt: ヴェネツィアの祝宴に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Antoine Watteau
Charlotte Desmares
Comédie-Française
Hieronymus Bosch
John Murray, Lord Murray
Nicolas Vleughels
Scottish National Gallery
The Garden of Earthly Delights


section

ヴェネツィアの祝宴

25; G 135;  6;  146;  197;  180; F A34;  96}}Fêtes Vénitiennes is a 1719 painting by Antoine Watteau, now in the Scottish National Gallery in Edinburgh, to which it was bequeathed in 1861 by dy Murray of Henderland, widow of John Murray, Lord Murray. It takes its title from a 1732 engraving of the work by urent Cars and is derived from the Venetian styles of dress and dancing shown in the work, the former inspired by the commedia dell'arte. It belongs to the fêtes galantes genre created by Watteau.The main dancer in the centre was thought to be the Comédie-Française actress Charlotte Desmares, a mistress of the Duc d'Orleans, whilst some identify the dancer in the black hat as the Flemish painter Nicolas Vleughels, a friend of Watteau. These two dancers are shown dancing a minuet, with other figures sitting in the background. These include a man courting a woman, two women talking to an actor and a presumed self-portrait of the painter as a musician holding a set of bagpipes – these had had a sexual symbolism since the Middle Ages, such as in Hieronymus Bosch's The Garden of Earthly Delights. Behind this seated group are two more people and a fountain.

Prompt: ヴェネツィアの祝宴の抽象を説明してください。英語で出力して下さい。

Antoine Watteau
Charlotte Desmares
Comédie-Française
Hieronymus Bosch
John Murray, Lord Murray
Nicolas Vleughels
Scottish National Gallery
The Garden of Earthly Delights


section

ヴェネツィアの祝宴

25; G 135;  6;  146;  197;  180; F A34;  96}}Fêtes Vénitiennes is a 1719 painting by Antoine Watteau, now in the Scottish National Gallery in Edinburgh, to which it was bequeathed in 1861 by dy Murray of Henderland, widow of John Murray, Lord Murray. It takes its title from a 1732 engraving of the work by urent Cars and is derived from the Venetian styles of dress and dancing shown in the work, the former inspired by the commedia dell'arte. It belongs to the fêtes galantes genre created by Watteau.The main dancer in the centre was thought to be the Comédie-Française actress Charlotte Desmares, a mistress of the Duc d'Orleans, whilst some identify the dancer in the black hat as the Flemish painter Nicolas Vleughels, a friend of Watteau. These two dancers are shown dancing a minuet, with other figures sitting in the background. These include a man courting a woman, two women talking to an actor and a presumed self-portrait of the painter as a musician holding a set of bagpipes – these had had a sexual symbolism since the Middle Ages, such as in Hieronymus Bosch's The Garden of Earthly Delights. Behind this seated group are two more people and a fountain.

Prompt: ヴェネツィアの祝宴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。

Antoine Watteau
Charlotte Desmares
Comédie-Française
Hieronymus Bosch
John Murray, Lord Murray
Nicolas Vleughels
Scottish National Gallery
The Garden of Earthly Delights


section

ヴェネツィアの祝宴

25; G 135;  6;  146;  197;  180; F A34;  96}}Fêtes Vénitiennes is a 1719 painting by Antoine Watteau, now in the Scottish National Gallery in Edinburgh, to which it was bequeathed in 1861 by dy Murray of Henderland, widow of John Murray, Lord Murray. It takes its title from a 1732 engraving of the work by urent Cars and is derived from the Venetian styles of dress and dancing shown in the work, the former inspired by the commedia dell'arte. It belongs to the fêtes galantes genre created by Watteau.The main dancer in the centre was thought to be the Comédie-Française actress Charlotte Desmares, a mistress of the Duc d'Orleans, whilst some identify the dancer in the black hat as the Flemish painter Nicolas Vleughels, a friend of Watteau. These two dancers are shown dancing a minuet, with other figures sitting in the background. These include a man courting a woman, two women talking to an actor and a presumed self-portrait of the painter as a musician holding a set of bagpipes – these had had a sexual symbolism since the Middle Ages, such as in Hieronymus Bosch's The Garden of Earthly Delights. Behind this seated group are two more people and a fountain.

Prompt: ヴェネツィアの祝宴に関して、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。

Antoine Watteau
Charlotte Desmares
Comédie-Française
Hieronymus Bosch
John Murray, Lord Murray
Nicolas Vleughels
Scottish National Gallery
The Garden of Earthly Delights


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ヴェネツィアの祝宴

The main dancer who occupies the center of the painting would be the actress Christine Charlotte Desmares, who was the lover of the Duke of Orleans, with whom she had had, in 1702, a bastard daughter, Angélique de Froissy.The dancer in the black hat facing her has been identified as Nicolas Vleughels, Flemish painter, friend and owner of Watteau, who rose to the rank of director of the Academy of Rome . His clothing seems humorous and is perhaps inspired by Italian comedians, which would explain the title distributed by the engraver urent Cars.Behind this couple dancing the minuet, sit a whole series of participants. The painter himself represented himself seated, as a musician holding a kind of bagpipe, also called a musette. Since the Middle Ages, the bagpipe was recognized as an instrument of sexual symbolism; Jêrome Bosch included it as such in his famous triptych of the Garden of Earthly Delights. Another cavalier is courting a lady and two other ladies are talking to an actor. Behind, we see another couple, standing in front of a fountain.Watteau treats various materials in a similar way, both taffeta and water, people and statues, foliage and curls, thus succeeding in giving unity to the painting.

Prompt: ヴェネツィアの祝宴に焦点を当てて、その説明を説明してください。英語で出力して下さい。


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ヴェネツィアの祝宴

The main dancer who occupies the center of the painting would be the actress Christine Charlotte Desmares, who was the lover of the Duke of Orleans, with whom she had had, in 1702, a bastard daughter, Angélique de Froissy.The dancer in the black hat facing her has been identified as Nicolas Vleughels, Flemish painter, friend and owner of Watteau, who rose to the rank of director of the Academy of Rome . His clothing seems humorous and is perhaps inspired by Italian comedians, which would explain the title distributed by the engraver urent Cars.Behind this couple dancing the minuet, sit a whole series of participants. The painter himself represented himself seated, as a musician holding a kind of bagpipe, also called a musette. Since the Middle Ages, the bagpipe was recognized as an instrument of sexual symbolism; Jêrome Bosch included it as such in his famous triptych of the Garden of Earthly Delights. Another cavalier is courting a lady and two other ladies are talking to an actor. Behind, we see another couple, standing in front of a fountain.Watteau treats various materials in a similar way, both taffeta and water, people and statues, foliage and curls, thus succeeding in giving unity to the painting.

Prompt: ヴェネツィアの祝宴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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ヴェネツィアの祝宴

The main dancer who occupies the center of the painting would be the actress Christine Charlotte Desmares, who was the lover of the Duke of Orleans, with whom she had had, in 1702, a bastard daughter, Angélique de Froissy.The dancer in the black hat facing her has been identified as Nicolas Vleughels, Flemish painter, friend and owner of Watteau, who rose to the rank of director of the Academy of Rome . His clothing seems humorous and is perhaps inspired by Italian comedians, which would explain the title distributed by the engraver urent Cars.Behind this couple dancing the minuet, sit a whole series of participants. The painter himself represented himself seated, as a musician holding a kind of bagpipe, also called a musette. Since the Middle Ages, the bagpipe was recognized as an instrument of sexual symbolism; Jêrome Bosch included it as such in his famous triptych of the Garden of Earthly Delights. Another cavalier is courting a lady and two other ladies are talking to an actor. Behind, we see another couple, standing in front of a fountain.Watteau treats various materials in a similar way, both taffeta and water, people and statues, foliage and curls, thus succeeding in giving unity to the painting.

Prompt: ヴェネツィアの祝宴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。


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ヴェネツィアの祝宴

The main dancer who occupies the center of the painting would be the actress Christine Charlotte Desmares, who was the lover of the Duke of Orleans, with whom she had had, in 1702, a bastard daughter, Angélique de Froissy.The dancer in the black hat facing her has been identified as Nicolas Vleughels, Flemish painter, friend and owner of Watteau, who rose to the rank of director of the Academy of Rome . His clothing seems humorous and is perhaps inspired by Italian comedians, which would explain the title distributed by the engraver urent Cars.Behind this couple dancing the minuet, sit a whole series of participants. The painter himself represented himself seated, as a musician holding a kind of bagpipe, also called a musette. Since the Middle Ages, the bagpipe was recognized as an instrument of sexual symbolism; Jêrome Bosch included it as such in his famous triptych of the Garden of Earthly Delights. Another cavalier is courting a lady and two other ladies are talking to an actor. Behind, we see another couple, standing in front of a fountain.Watteau treats various materials in a similar way, both taffeta and water, people and statues, foliage and curls, thus succeeding in giving unity to the painting.

Prompt: ヴェネツィアの祝宴に関して、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。


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アスパラガス

A Sprig of Asparagus  is an 1880 oil on canvas painting by Édouard Manet, signed at the top right. It is now in the Musée d'Orsay.Earlier in 1880 the art collector Charles Ephrussi had commissioned Manet to paint A Bundle of Asapragus for 800 francs. On receiving the work he gave the artist 1000 francs instead and so Manet decided to paint a smaller second work now known as A Sprig of Asparagus. He sent this second work to Ephrussi with a note reading "There was one [sprig] missing from your bundle."The painting is referenced in Sheila Heti's novels How Should A Person Be? and Pure Color. She has called it her favorite painting. Both paintings are mentioned in the roman The Hare with Amber Eyes. A Hidden Inheritance of Edmund de Waal. Charles Ephrussi and Edmund de Waal were relatives.

Prompt: アスパラガスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

1880
Charles Ephrussi
Musée d'Orsay
Sheila Heti
Édouard Manet


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アスパラガス

A Sprig of Asparagus  is an 1880 oil on canvas painting by Édouard Manet, signed at the top right. It is now in the Musée d'Orsay.Earlier in 1880 the art collector Charles Ephrussi had commissioned Manet to paint A Bundle of Asapragus for 800 francs. On receiving the work he gave the artist 1000 francs instead and so Manet decided to paint a smaller second work now known as A Sprig of Asparagus. He sent this second work to Ephrussi with a note reading "There was one [sprig] missing from your bundle."The painting is referenced in Sheila Heti's novels How Should A Person Be? and Pure Color. She has called it her favorite painting. Both paintings are mentioned in the roman The Hare with Amber Eyes. A Hidden Inheritance of Edmund de Waal. Charles Ephrussi and Edmund de Waal were relatives.

Prompt: アスパラガスの抽象を説明してください。英語で出力して下さい。

1880
Charles Ephrussi
Musée d'Orsay
Sheila Heti
Édouard Manet


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アスパラガス

A Sprig of Asparagus  is an 1880 oil on canvas painting by Édouard Manet, signed at the top right. It is now in the Musée d'Orsay.Earlier in 1880 the art collector Charles Ephrussi had commissioned Manet to paint A Bundle of Asapragus for 800 francs. On receiving the work he gave the artist 1000 francs instead and so Manet decided to paint a smaller second work now known as A Sprig of Asparagus. He sent this second work to Ephrussi with a note reading "There was one [sprig] missing from your bundle."The painting is referenced in Sheila Heti's novels How Should A Person Be? and Pure Color. She has called it her favorite painting. Both paintings are mentioned in the roman The Hare with Amber Eyes. A Hidden Inheritance of Edmund de Waal. Charles Ephrussi and Edmund de Waal were relatives.

Prompt: アスパラガス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。

1880
Charles Ephrussi
Musée d'Orsay
Sheila Heti
Édouard Manet


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アスパラガス

A Sprig of Asparagus  is an 1880 oil on canvas painting by Édouard Manet, signed at the top right. It is now in the Musée d'Orsay.Earlier in 1880 the art collector Charles Ephrussi had commissioned Manet to paint A Bundle of Asapragus for 800 francs. On receiving the work he gave the artist 1000 francs instead and so Manet decided to paint a smaller second work now known as A Sprig of Asparagus. He sent this second work to Ephrussi with a note reading "There was one [sprig] missing from your bundle."The painting is referenced in Sheila Heti's novels How Should A Person Be? and Pure Color. She has called it her favorite painting. Both paintings are mentioned in the roman The Hare with Amber Eyes. A Hidden Inheritance of Edmund de Waal. Charles Ephrussi and Edmund de Waal were relatives.

Prompt: アスパラガスに関して、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。

1880
Charles Ephrussi
Musée d'Orsay
Sheila Heti
Édouard Manet


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アスパラガス

List of paintings by Édouard Manet 1880 in art

Prompt: アスパラガスに焦点を当てて、その参照を説明してください。英語で出力して下さい。

1880
1880 in art
List of paintings by Édouard Manet
Édouard Manet


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アスパラガス

List of paintings by Édouard Manet 1880 in art

Prompt: アスパラガスの参照を説明してください。英語で出力して下さい。

1880
1880 in art
List of paintings by Édouard Manet
Édouard Manet


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アスパラガス

List of paintings by Édouard Manet 1880 in art

Prompt: アスパラガス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。

1880
1880 in art
List of paintings by Édouard Manet
Édouard Manet


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アスパラガス

List of paintings by Édouard Manet 1880 in art

Prompt: アスパラガスに関して、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。

1880
1880 in art
List of paintings by Édouard Manet
Édouard Manet


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アスパラガス

Denis Rouart and Sandra Orienti, Tout l’œuvre peint d'Édouard Manet, Paris, Flammarion, coll. « Les Classiques de l'Art », 1997 , 126 p.   Olivier Céna, « Manet, inventeur du moderne », Télérama, no 3196, 16 avril 2011   James H. Rubin , Manet : Initiale M, l’œil, une main, Paris, Flammarion, 2011, 416 p.

Prompt: アスパラガスに焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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アスパラガス

Denis Rouart and Sandra Orienti, Tout l’œuvre peint d'Édouard Manet, Paris, Flammarion, coll. « Les Classiques de l'Art », 1997 , 126 p.   Olivier Céna, « Manet, inventeur du moderne », Télérama, no 3196, 16 avril 2011   James H. Rubin , Manet : Initiale M, l’œil, une main, Paris, Flammarion, 2011, 416 p.

Prompt: アスパラガスの参考文献を説明してください。英語で出力して下さい。


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アスパラガス

Denis Rouart and Sandra Orienti, Tout l’œuvre peint d'Édouard Manet, Paris, Flammarion, coll. « Les Classiques de l'Art », 1997 , 126 p.   Olivier Céna, « Manet, inventeur du moderne », Télérama, no 3196, 16 avril 2011   James H. Rubin , Manet : Initiale M, l’œil, une main, Paris, Flammarion, 2011, 416 p.

Prompt: アスパラガスはどのように参考文献を説明していますか？英語で出力して下さい。


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アスパラガス

Denis Rouart and Sandra Orienti, Tout l’œuvre peint d'Édouard Manet, Paris, Flammarion, coll. « Les Classiques de l'Art », 1997 , 126 p.   Olivier Céna, « Manet, inventeur du moderne », Télérama, no 3196, 16 avril 2011   James H. Rubin , Manet : Initiale M, l’œil, une main, Paris, Flammarion, 2011, 416 p.

Prompt: アスパラガスに関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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アスパラガス

Category:Still life paintingsCategory:1880 paintingsCategory:Paintings in the Musée d'OrsayCategory:Paintings by Édouard ManetCategory:Asparagus

Prompt: アスパラガスに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


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アスパラガス

Category:Still life paintingsCategory:1880 paintingsCategory:Paintings in the Musée d'OrsayCategory:Paintings by Édouard ManetCategory:Asparagus

Prompt: アスパラガスの外部リンクを説明してください。英語で出力して下さい。


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アスパラガス

Category:Still life paintingsCategory:1880 paintingsCategory:Paintings in the Musée d'OrsayCategory:Paintings by Édouard ManetCategory:Asparagus

Prompt: アスパラガスはどのように外部リンクを説明していますか？英語で出力して下さい。


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アスパラガス

Category:Still life paintingsCategory:1880 paintingsCategory:Paintings in the Musée d'OrsayCategory:Paintings by Édouard ManetCategory:Asparagus

Prompt: アスパラガスに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


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若い女性の肖像 (ポッライオーロ)

completion_date    =   catalogue          =  medium             = Mixed medium on panel movement           = subject            =  height_metric      = 45.5  width_metric       = 32.7 length_metric      =  metric_unit        = cm   imperial_unit      = in   museum             = Museo Poldi Pezzoli city               = Milan}}Portrait of a Young Woman is a mixed-technique painting on panel of , variously attributed to Piero del Pollaiuolo or his brother Antonio. It is now in Milan in the Museo Poldi Pezzoli, which uses the painting as its symbol.

Prompt: 若い女性の肖像 (ポッライオーロ)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。

Museo Poldi Pezzoli
Piero del Pollaiuolo


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若い女性の肖像 (ポッライオーロ)

completion_date    =   catalogue          =  medium             = Mixed medium on panel movement           = subject            =  height_metric      = 45.5  width_metric       = 32.7 length_metric      =  metric_unit        = cm   imperial_unit      = in   museum             = Museo Poldi Pezzoli city               = Milan}}Portrait of a Young Woman is a mixed-technique painting on panel of , variously attributed to Piero del Pollaiuolo or his brother Antonio. It is now in Milan in the Museo Poldi Pezzoli, which uses the painting as its symbol.

Prompt: 若い女性の肖像 (ポッライオーロ)の抽象を説明してください。英語で出力して下さい。

Museo Poldi Pezzoli
Piero del Pollaiuolo


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若い女性の肖像 (ポッライオーロ)

completion_date    =   catalogue          =  medium             = Mixed medium on panel movement           = subject            =  height_metric      = 45.5  width_metric       = 32.7 length_metric      =  metric_unit        = cm   imperial_unit      = in   museum             = Museo Poldi Pezzoli city               = Milan}}Portrait of a Young Woman is a mixed-technique painting on panel of , variously attributed to Piero del Pollaiuolo or his brother Antonio. It is now in Milan in the Museo Poldi Pezzoli, which uses the painting as its symbol.

Prompt: 若い女性の肖像 (ポッライオーロ)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。

Museo Poldi Pezzoli
Piero del Pollaiuolo


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若い女性の肖像 (ポッライオーロ)

completion_date    =   catalogue          =  medium             = Mixed medium on panel movement           = subject            =  height_metric      = 45.5  width_metric       = 32.7 length_metric      =  metric_unit        = cm   imperial_unit      = in   museum             = Museo Poldi Pezzoli city               = Milan}}Portrait of a Young Woman is a mixed-technique painting on panel of , variously attributed to Piero del Pollaiuolo or his brother Antonio. It is now in Milan in the Museo Poldi Pezzoli, which uses the painting as its symbol.

Prompt: 若い女性の肖像 (ポッライオーロ)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。

Museo Poldi Pezzoli
Piero del Pollaiuolo


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若い女性の肖像 (ポッライオーロ)

The work is one of the most celebrated and best preserved Renaissance portraits of a woman in profile of those attributed to one of the two Pollaiuolo brothers. It is often compared to Portrait of a Woman at the Uffizi, as well as to similar portraits held in the Staatliche Museen, the Metropolitan Museum of Art, and the Isabella Stewart Gardner Museum. Similar facial features can also be seen in  by Andrea della Robbia. These works have traditionally been attributed to Piero del Pollaiuolo, but recent critics, such as Aldo Galli, have proposed attributions to Antonio.The identity of the subject of the portrait in Milan is unclear. Various names have been proposed, including the wife of the banker Giovanni de' Bardi , Marietta Strozzi, or a woman of the Belgioioso family. In the 19th century, the painting was reported by Giovanni Battista Cavalcaselle as being in the Borromeo family collections. It is not known when Gian Giacomo Poldi Pezzoli inherited the work from his mother's family, the . It was, however, transferred to the newly founded Museo Poldi Pezzoli in 1879. The painting was restored to good condition in 1951 by M. Pellicioli. A synthetic transposition of the portrait, created by Italo Lupi, symbolizes the two Ps in the logo of the museum today.

Prompt: 若い女性の肖像 (ポッライオーロ)に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Andrea della Robbia
Gian Giacomo Poldi Pezzoli
Giovanni Battista Cavalcaselle
Isabella Stewart Gardner Museum
Italo Lupi
Metropolitan Museum of Art
Museo Poldi Pezzoli
Piero del Pollaiuolo
Uffizi