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人生の踊り

At the start of Anthony Powell's series of novels named after the painting, the narrator, Nicolas Jenkins, reflects on it in the first two pages of A Question of Upbringing:

Prompt: 人生の踊りに関して、どのようにアンソニー・パウエ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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人生の踊り

It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.

Prompt: 人生の踊りに焦点を当てて、その起源を説明してください。英語で出力して下さい。


section

人生の踊り

It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.

Prompt: 人生の踊りの起源を説明してください。英語で出力して下さい。


section

人生の踊り

It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.

Prompt: 人生の踊りはどのように起源を説明していますか？英語で出力して下さい。


section

人生の踊り

It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.

Prompt: 人生の踊りに関して、どのように起源が議論されていますか？英語で出力して下さい。


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人生の踊り

Prompt: 人生の踊りに焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of paintings by Nicolas Poussin
Nicolas Poussin


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人生の踊り

Prompt: 人生の踊りの参照を説明してください。英語で出力して下さい。

List of paintings by Nicolas Poussin
Nicolas Poussin


section

人生の踊り

Prompt: 人生の踊りはどのように参照を説明していますか？英語で出力して下さい。

List of paintings by Nicolas Poussin
Nicolas Poussin


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人生の踊り

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

List of paintings by Nicolas Poussin
Nicolas Poussin


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人生の踊り

Bull, Malcolm, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, Oxford UP, 2005,  Ingamells, John, The Wallace Collection, Catalogue of Pictures, Vol III, French before 1815, London: Wallace Collection     "Wallace":

Prompt: 人生の踊りに焦点を当てて、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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人生の踊り

Bull, Malcolm, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, Oxford UP, 2005,  Ingamells, John, The Wallace Collection, Catalogue of Pictures, Vol III, French before 1815, London: Wallace Collection     "Wallace":

Prompt: 人生の踊り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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人生の踊り

Bull, Malcolm, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, Oxford UP, 2005,  Ingamells, John, The Wallace Collection, Catalogue of Pictures, Vol III, French before 1815, London: Wallace Collection     "Wallace":

Prompt: 人生の踊り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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人生の踊り

Bull, Malcolm, The Mirror of the Gods, How Renaissance Artists Rediscovered the Pagan Gods, Oxford UP, 2005,  Ingamells, John, The Wallace Collection, Catalogue of Pictures, Vol III, French before 1815, London: Wallace Collection     "Wallace":

Prompt: 人生の踊りに関して、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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人生の踊り

Beresford, Richard, A Dance to the Music of Time. London: Wallace Collection

Prompt: 人生の踊りに焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。

A Dance to the Music of Time
London
Wallace Collection


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人生の踊り

Beresford, Richard, A Dance to the Music of Time. London: Wallace Collection

Prompt: 人生の踊りのさらなる読書を説明してください。英語で出力して下さい。

A Dance to the Music of Time
London
Wallace Collection


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人生の踊り

Beresford, Richard, A Dance to the Music of Time. London: Wallace Collection

Prompt: 人生の踊りはどのようにさらなる読書を説明していますか？英語で出力して下さい。

A Dance to the Music of Time
London
Wallace Collection


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人生の踊り

Beresford, Richard, A Dance to the Music of Time. London: Wallace Collection

Prompt: 人生の踊りに関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。

A Dance to the Music of Time
London
Wallace Collection


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ジョヴァンナ・トルナブオーニの肖像

The Portrait of Giovanna Tornabuoni  is a painting by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1488 and located in the Museo Thyssen-Bornemisza, Madrid. The portrait was commissioned by Lorenzo Tornabuoni after his wife's death in 1488 and includes many symbolic details.

Prompt: ジョヴァンナ・トルナブオーニ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。


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ジョヴァンナ・トルナブオーニの肖像

The Portrait of Giovanna Tornabuoni  is a painting by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1488 and located in the Museo Thyssen-Bornemisza, Madrid. The portrait was commissioned by Lorenzo Tornabuoni after his wife's death in 1488 and includes many symbolic details.

Prompt: ジョヴァンナ・トルナブオーニの肖像の抽象を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

The Portrait of Giovanna Tornabuoni  is a painting by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1488 and located in the Museo Thyssen-Bornemisza, Madrid. The portrait was commissioned by Lorenzo Tornabuoni after his wife's death in 1488 and includes many symbolic details.

Prompt: ジョヴァンナ・トルナブオーニの肖像はどのように抽象を説明していますか？英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

The Portrait of Giovanna Tornabuoni  is a painting by the Italian Renaissance painter Domenico Ghirlandaio, executed in 1488 and located in the Museo Thyssen-Bornemisza, Madrid. The portrait was commissioned by Lorenzo Tornabuoni after his wife's death in 1488 and includes many symbolic details.

Prompt: ジョヴァンナ・トルナブオーニの肖像に関して、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。


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ジョヴァンナ・トルナブオーニの肖像

The painting portrays Giovanna degli Albizzi, a Florentine noblewoman who was married to Lorenzo Tornabuoni. She died in childbirth in 1488, the year specified on the cartellino She has been identified thanks to her other portraits in the Tornabuoni Chapel and a medal of Giovanna, also by Ghirlandaio, where she has the same hair style.It depicts the young woman from the side in a linear, ornamental arrangement which was common for the time. This profile portrait was the common style of 15th century Florentine portraiture. The figure is wearing precious clothes including a gamurra vest. On the right, behind her, are a hanging coral necklace , a partly closed prayer book, and a tin inscription, taken from an epigram by the 1st century AD poet Martial. She also holds a handkerchief. The figure of Giovanna is idealized in appearance and proportion which was the tradition of the time.

Prompt: ジョヴァンナ・トルナブオーニの肖像に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

The painting portrays Giovanna degli Albizzi, a Florentine noblewoman who was married to Lorenzo Tornabuoni. She died in childbirth in 1488, the year specified on the cartellino She has been identified thanks to her other portraits in the Tornabuoni Chapel and a medal of Giovanna, also by Ghirlandaio, where she has the same hair style.It depicts the young woman from the side in a linear, ornamental arrangement which was common for the time. This profile portrait was the common style of 15th century Florentine portraiture. The figure is wearing precious clothes including a gamurra vest. On the right, behind her, are a hanging coral necklace , a partly closed prayer book, and a tin inscription, taken from an epigram by the 1st century AD poet Martial. She also holds a handkerchief. The figure of Giovanna is idealized in appearance and proportion which was the tradition of the time.

Prompt: ジョヴァンナ・トルナブオーニの肖像の説明を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

The painting portrays Giovanna degli Albizzi, a Florentine noblewoman who was married to Lorenzo Tornabuoni. She died in childbirth in 1488, the year specified on the cartellino She has been identified thanks to her other portraits in the Tornabuoni Chapel and a medal of Giovanna, also by Ghirlandaio, where she has the same hair style.It depicts the young woman from the side in a linear, ornamental arrangement which was common for the time. This profile portrait was the common style of 15th century Florentine portraiture. The figure is wearing precious clothes including a gamurra vest. On the right, behind her, are a hanging coral necklace , a partly closed prayer book, and a tin inscription, taken from an epigram by the 1st century AD poet Martial. She also holds a handkerchief. The figure of Giovanna is idealized in appearance and proportion which was the tradition of the time.

Prompt: ジョヴァンナ・トルナブオーニの肖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。


section

ジョヴァンナ・トルナブオーニの肖像

The painting portrays Giovanna degli Albizzi, a Florentine noblewoman who was married to Lorenzo Tornabuoni. She died in childbirth in 1488, the year specified on the cartellino She has been identified thanks to her other portraits in the Tornabuoni Chapel and a medal of Giovanna, also by Ghirlandaio, where she has the same hair style.It depicts the young woman from the side in a linear, ornamental arrangement which was common for the time. This profile portrait was the common style of 15th century Florentine portraiture. The figure is wearing precious clothes including a gamurra vest. On the right, behind her, are a hanging coral necklace , a partly closed prayer book, and a tin inscription, taken from an epigram by the 1st century AD poet Martial. She also holds a handkerchief. The figure of Giovanna is idealized in appearance and proportion which was the tradition of the time.

Prompt: ジョヴァンナ・トルナブオーニの肖像に関して、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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ジョヴァンナ・トルナブオーニの肖像

Many aspects of this portrait hold symbolic significance in emphasizing her wealth, status, and piety. Giovanna's fine clothing indicates her status and the wealth of her family. The Tornabuoni emblem is present on her clothes, as well as two "Ls" on her shoulder, referring to her husband, Lorenzo. These emblems denote Giovanna's family and illustrate where the visible wealth comes from.The book seen behind Giovanna, possibly a prayer book, also refers to her piety and educated status. By referring to Giovanna's beauty, Ghirlandaio conveys the beauty of the sitter reflects their morality. The adjustments to the epigram were likely a done by Poliziano, one of Lorenzo's teachers.

Prompt: ジョヴァンナ・トルナブオーニの肖像に焦点を当てて、その象徴性を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

Many aspects of this portrait hold symbolic significance in emphasizing her wealth, status, and piety. Giovanna's fine clothing indicates her status and the wealth of her family. The Tornabuoni emblem is present on her clothes, as well as two "Ls" on her shoulder, referring to her husband, Lorenzo. These emblems denote Giovanna's family and illustrate where the visible wealth comes from.The book seen behind Giovanna, possibly a prayer book, also refers to her piety and educated status. By referring to Giovanna's beauty, Ghirlandaio conveys the beauty of the sitter reflects their morality. The adjustments to the epigram were likely a done by Poliziano, one of Lorenzo's teachers.

Prompt: ジョヴァンナ・トルナブオーニの肖像の象徴性を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

Many aspects of this portrait hold symbolic significance in emphasizing her wealth, status, and piety. Giovanna's fine clothing indicates her status and the wealth of her family. The Tornabuoni emblem is present on her clothes, as well as two "Ls" on her shoulder, referring to her husband, Lorenzo. These emblems denote Giovanna's family and illustrate where the visible wealth comes from.The book seen behind Giovanna, possibly a prayer book, also refers to her piety and educated status. By referring to Giovanna's beauty, Ghirlandaio conveys the beauty of the sitter reflects their morality. The adjustments to the epigram were likely a done by Poliziano, one of Lorenzo's teachers.

Prompt: ジョヴァンナ・トルナブオーニの肖像はどのように象徴性を説明していますか？英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

Many aspects of this portrait hold symbolic significance in emphasizing her wealth, status, and piety. Giovanna's fine clothing indicates her status and the wealth of her family. The Tornabuoni emblem is present on her clothes, as well as two "Ls" on her shoulder, referring to her husband, Lorenzo. These emblems denote Giovanna's family and illustrate where the visible wealth comes from.The book seen behind Giovanna, possibly a prayer book, also refers to her piety and educated status. By referring to Giovanna's beauty, Ghirlandaio conveys the beauty of the sitter reflects their morality. The adjustments to the epigram were likely a done by Poliziano, one of Lorenzo's teachers.

Prompt: ジョヴァンナ・トルナブオーニの肖像に関して、どのように象徴性が議論されていますか？英語で出力して下さい。


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ジョヴァンナ・トルナブオーニの肖像

Portrait of Giovanna Tornabuoni has been extensively studied. It has been x-rayed as well as analyzed with ultra-violet, infra-red, and cross-section techniques. Through these analyses it was found that the painting was created with a brush underdrawing. There are several differences between the underdrawing and the final painting, including the positioning of the hands and the included accessories. The hands were initially held higher, but were lowered in the finished piece into a less assertive position. The necklace Giovanna is wearing in the final portrait was originally a string of beads and featured a different pendant. The other accessories in the background were not present in the underdrawing. Ghirlandaio also modified the hair styling and the curves of the figure's body. Overall the final portrait was more idealized than the original underdrawing.

Prompt: ジョヴァンナ・トルナブオーニの肖像に焦点を当てて、その分析を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

Portrait of Giovanna Tornabuoni has been extensively studied. It has been x-rayed as well as analyzed with ultra-violet, infra-red, and cross-section techniques. Through these analyses it was found that the painting was created with a brush underdrawing. There are several differences between the underdrawing and the final painting, including the positioning of the hands and the included accessories. The hands were initially held higher, but were lowered in the finished piece into a less assertive position. The necklace Giovanna is wearing in the final portrait was originally a string of beads and featured a different pendant. The other accessories in the background were not present in the underdrawing. Ghirlandaio also modified the hair styling and the curves of the figure's body. Overall the final portrait was more idealized than the original underdrawing.

Prompt: ジョヴァンナ・トルナブオーニの肖像の分析を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

Portrait of Giovanna Tornabuoni has been extensively studied. It has been x-rayed as well as analyzed with ultra-violet, infra-red, and cross-section techniques. Through these analyses it was found that the painting was created with a brush underdrawing. There are several differences between the underdrawing and the final painting, including the positioning of the hands and the included accessories. The hands were initially held higher, but were lowered in the finished piece into a less assertive position. The necklace Giovanna is wearing in the final portrait was originally a string of beads and featured a different pendant. The other accessories in the background were not present in the underdrawing. Ghirlandaio also modified the hair styling and the curves of the figure's body. Overall the final portrait was more idealized than the original underdrawing.

Prompt: ジョヴァンナ・トルナブオーニの肖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

ジョヴァンナ・トルナブオーニの肖像

Portrait of Giovanna Tornabuoni has been extensively studied. It has been x-rayed as well as analyzed with ultra-violet, infra-red, and cross-section techniques. Through these analyses it was found that the painting was created with a brush underdrawing. There are several differences between the underdrawing and the final painting, including the positioning of the hands and the included accessories. The hands were initially held higher, but were lowered in the finished piece into a less assertive position. The necklace Giovanna is wearing in the final portrait was originally a string of beads and featured a different pendant. The other accessories in the background were not present in the underdrawing. Ghirlandaio also modified the hair styling and the curves of the figure's body. Overall the final portrait was more idealized than the original underdrawing.

Prompt: ジョヴァンナ・トルナブオーニの肖像に関して、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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ジョヴァンナ・トルナブオーニの肖像

The portrait was originally placed in the camera del palcho d'oro  in Lorenzo Tornabuoni's suite in the Tornabuoni palace. The presence of the portrait in a public space of the palace commemorated Giovanna's death. During this time, portraits of deceased individuals served to record lineage,  exemplify important figures, and commemorate loved ones. This portrait likely presented Giovanna as an exemplary figure in the Tornabuoni palace.

Prompt: ジョヴァンナ・トルナブオーニの肖像に焦点を当てて、その元の場所を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

The portrait was originally placed in the camera del palcho d'oro  in Lorenzo Tornabuoni's suite in the Tornabuoni palace. The presence of the portrait in a public space of the palace commemorated Giovanna's death. During this time, portraits of deceased individuals served to record lineage,  exemplify important figures, and commemorate loved ones. This portrait likely presented Giovanna as an exemplary figure in the Tornabuoni palace.

Prompt: ジョヴァンナ・トルナブオーニの肖像の元の場所を説明してください。英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

The portrait was originally placed in the camera del palcho d'oro  in Lorenzo Tornabuoni's suite in the Tornabuoni palace. The presence of the portrait in a public space of the palace commemorated Giovanna's death. During this time, portraits of deceased individuals served to record lineage,  exemplify important figures, and commemorate loved ones. This portrait likely presented Giovanna as an exemplary figure in the Tornabuoni palace.

Prompt: ジョヴァンナ・トルナブオーニの肖像はどのように元の場所を説明していますか？英語で出力して下さい。


section

ジョヴァンナ・トルナブオーニの肖像

The portrait was originally placed in the camera del palcho d'oro  in Lorenzo Tornabuoni's suite in the Tornabuoni palace. The presence of the portrait in a public space of the palace commemorated Giovanna's death. During this time, portraits of deceased individuals served to record lineage,  exemplify important figures, and commemorate loved ones. This portrait likely presented Giovanna as an exemplary figure in the Tornabuoni palace.

Prompt: ジョヴァンナ・トルナブオーニの肖像に関して、どのように元の場所が議論されていますか？英語で出力して下さい。


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キルトの袖をつけた男の肖像

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring . Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter.  It was long thought to be a portrait of Ariosto, then a self-portrait, but since 2017 has been called Portrait of Gerolamo  Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants.Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice.  According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits  but shows the personality and "physical assurance" of his sitter with new force and realism.  To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting  in Amsterdam.  Soon after, it apparently moved to England via France.  It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

Prompt: キルトの袖をつけた男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。

Amsterdam
Florence
Giorgione
London
National Gallery
Rembrandt
National Gallery
Titian
Venice


section

キルトの袖をつけた男の肖像

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring . Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter.  It was long thought to be a portrait of Ariosto, then a self-portrait, but since 2017 has been called Portrait of Gerolamo  Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants.Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice.  According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits  but shows the personality and "physical assurance" of his sitter with new force and realism.  To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting  in Amsterdam.  Soon after, it apparently moved to England via France.  It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

Prompt: キルトの袖をつけた男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。

Amsterdam
Florence
Giorgione
London
National Gallery
Rembrandt
National Gallery
Titian
Venice


section

キルトの袖をつけた男の肖像

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring . Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter.  It was long thought to be a portrait of Ariosto, then a self-portrait, but since 2017 has been called Portrait of Gerolamo  Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants.Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice.  According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits  but shows the personality and "physical assurance" of his sitter with new force and realism.  To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting  in Amsterdam.  Soon after, it apparently moved to England via France.  It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

Prompt: キルトの袖をつけた男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。

Amsterdam
Florence
Giorgione
London
National Gallery
Rembrandt
National Gallery
Titian
Venice


section

キルトの袖をつけた男の肖像

A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring . Though the quality of the painting has always been praised, there has been much discussion as to the identity of the sitter.  It was long thought to be a portrait of Ariosto, then a self-portrait, but since 2017 has been called Portrait of Gerolamo  Barbarigo by the gallery, having also been called merely Portrait of a Man, the title used here, The Man with the Blue Sleeve, and no doubt other variants.Placing a parapet, a low wood or stone sill or ledge, between the subject and the viewer is a common feature of early Renaissance Italian portraits, as a useful way of solving "the principal compositional problem" of portraits at less than full-length, how "to justify the cutting of the figure". By having the large sleeve project slightly beyond the parapet, Titian "subverts" the usual barrier effect, bringing the picture space into "our space" as viewers. The turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The "broad spiral motion in depth of the head and arm" suggests that Titian had some awareness of contemporary developments in painting in Florence. The sleeve is brilliantly painted, and the "merging of the shadowed portions of the figure with the grey atmospheric background ... is one of the most innovative and influential aspects of the painting".The painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice.  According to John Steer, Titian retains the "mood of generalized inner mystery" that Giorgione had brought to his portraits  but shows the personality and "physical assurance" of his sitter with new force and realism.  To some extent the "ardent gaze" of this and other figures is adopted from paintings of religious subjects.The pose was borrowed in two self-portraits by Rembrandt, who saw the painting  in Amsterdam.  Soon after, it apparently moved to England via France.  It entered the National Gallery in 1904 as NG1944, and in 2017 was on display in Room 2.

Prompt: キルトの袖をつけた男の肖像に関して、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。

Amsterdam
Florence
Giorgione
London
National Gallery
Rembrandt
National Gallery
Titian
Venice


section

キルトの袖をつけた男の肖像

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as  Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials , though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's  Schiavona.  Various moral mottos, such as "virtus vincit "  have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Prompt: キルトの袖をつけた男の肖像に焦点を当てて、その帰属、日付、状態を説明してください。英語で出力して下さい。

Giorgione
Hermitage Museum
Nicholas Penny
Titian
Uffizi


section

キルトの袖をつけた男の肖像

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as  Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials , though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's  Schiavona.  Various moral mottos, such as "virtus vincit "  have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Prompt: キルトの袖をつけた男の肖像の帰属、日付、状態を説明してください。英語で出力して下さい。

Giorgione
Hermitage Museum
Nicholas Penny
Titian
Uffizi


section

キルトの袖をつけた男の肖像

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as  Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials , though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's  Schiavona.  Various moral mottos, such as "virtus vincit "  have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Prompt: キルトの袖をつけた男の肖像はどのように帰属、日付、状態を説明していますか？英語で出力して下さい。

Giorgione
Hermitage Museum
Nicholas Penny
Titian
Uffizi


section

キルトの袖をつけた男の肖像

The work's attribution and dating are based on its style, its ambiguous signature, and comparison with other Titian works, such as  Schiavona.  The dates assigned have all been in the period of about 1509–1512; a painting in the Hermitage Museum that is "obviously inspired by it" is dated 1512.  According to Nicholas Penny, the Man with a Quilted Sleeve may be Titian's earliest portrait, apart from a Knight of Malta in the Uffizi.The widely spaced letters "T V" appear as though carved into the stone parapet either side of the sleeve, with triangular dots around them.  They are usually taken as Titian's initials , though there is a second V visible in infrared reflectography, so the painting once might have carried "the mysterious abbreviation "VV"".  This appears on various Venetian portraits of around this date, including several works attributed to Giorgione, such as the Giustiniani Portrait or the Gentleman with a book, as well as Titian's  Schiavona.  Various moral mottos, such as "virtus vincit "  have been proposed as the meaning. "VV" is not usually regarded as a signature, but "TV" might be Titian's. Before cleaning and restoration the signature had been added to by a later hand, so that it read TITIANUS and a monogram with the overlapping letters "TV". Like many others, the painting was at times attributed to Giorgione, well into the 20th century.The painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, and the sill is "extensively restored". Fine red lines representing threads in the fabric of the sleeve have now faded, and the effect of the "hollows and dimples" on its surface is somewhat reduced by "blanching" that reduces their contrast to the rest of the sleeve. Scientific imaging reveals only a little very confident underdrawing.

Prompt: キルトの袖をつけた男の肖像に関して、どのように帰属、日付、状態が議論されていますか？英語で出力して下さい。

Giorgione
Hermitage Museum
Nicholas Penny
Titian
Uffizi


section

キルトの袖をつけた男の肖像

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as  one by Palma Vecchio also in the Gallery.It was first suggested in 1895  that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34  as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill .  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Prompt: キルトの袖をつけた男の肖像に焦点を当てて、その座る人の身元を説明してください。英語で出力して下さい。

Alnwick Castle
Amsterdam
Ludovico Ariosto
Barbarigo family
Cecil Gould
Kenneth Clark
London
London Review of Books
Ludovico Ariosto
National Gallery
Palma Vecchio
Rembrandt
Self-portrait
National Gallery
Titian
Venice


section

キルトの袖をつけた男の肖像

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as  one by Palma Vecchio also in the Gallery.It was first suggested in 1895  that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34  as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill .  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Prompt: キルトの袖をつけた男の肖像の座る人の身元を説明してください。英語で出力して下さい。

Alnwick Castle
Amsterdam
Ludovico Ariosto
Barbarigo family
Cecil Gould
Kenneth Clark
London
London Review of Books
Ludovico Ariosto
National Gallery
Palma Vecchio
Rembrandt
Self-portrait
National Gallery
Titian
Venice


section

キルトの袖をつけた男の肖像

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as  one by Palma Vecchio also in the Gallery.It was first suggested in 1895  that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34  as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill .  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Prompt: キルトの袖をつけた男の肖像はどのように座る人の身元を説明していますか？英語で出力して下さい。

Alnwick Castle
Amsterdam
Ludovico Ariosto
Barbarigo family
Cecil Gould
Kenneth Clark
London
London Review of Books
Ludovico Ariosto
National Gallery
Palma Vecchio
Rembrandt
Self-portrait
National Gallery
Titian
Venice


section

キルトの袖をつけた男の肖像

From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics.  Even when it entered the National Gallery in 1904 it was only "tentatively" so identified, as it does not resemble other portraits of Ariosto, such as  one by Palma Vecchio also in the Gallery.It was first suggested in 1895  that it portrays a man from the Barbarigo family, as a Titian portrait of "a gentleman from the House of Barbarigo, [the artist's] friend, who he held in high esteem", "in a doublet of silvered satin" was described by Vasari in his Life of Titian. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485 to 1501.The Barberigo identification has met with some resistance. Charles Hope, reviewing an exhibition including the piece in the National Gallery in the London Review of Books concluded that claims on early Titian are still too speculative, asking "Why not admit that we still don’t know very much about Venetian painting in the first decade of the 16th century, instead of pretending to a knowledge that we do not possess?" Nonetheless, this theory was supported by the National Gallery in the title they used in 2017; Gerolamo Barberigo, who became thirty in 1509 at the time the portrait was painted, has been chosen as the most likely member of the family to be represented.  Thirty was the age at which patrician Venetian men became qualified for significant political roles, and perhaps a good moment to commission a portrait. There is another portrait, in Alnwick Castle and usually attributed to Palma Vecchio, which might show the same sitter and also be by Titian.Cecil Gould and Kenneth Clark thought that the painting might be a self-portrait by Titian; there are no other certain ones from before his old age with which to compare the likeness. The pose is convenient for a right-handed artist painting himself in a mirror, and the convex mirrors of the day may have lengthened the face slightly, and account for the slightly supercilious air of the subject, seeming to look down his nose at the viewer.  At this point in his career Titian was becoming known as a portrait painter, and might have wished to advertise his skill to future clients by having a self-portrait to show them.Rembrandt saw the painting in Amsterdam and the next year copied the pose in his Self-portrait at the age of 34  as well as a self-portrait etching of 1639, Self-portrait leaning on a Sill .  In both of these, as in many others of his self-portraits, his costume is in many ways more from Titian's period than his own.

Prompt: キルトの袖をつけた男の肖像に関して、どのように座る人の身元が議論されていますか？英語で出力して下さい。

Alnwick Castle
Amsterdam
Ludovico Ariosto
Barbarigo family
Cecil Gould
Kenneth Clark
London
London Review of Books
Ludovico Ariosto
National Gallery
Palma Vecchio
Rembrandt
Self-portrait
National Gallery
Titian
Venice


section

キルトの袖をつけた男の肖像

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark  and Jan Gossaert's Adoration of the Kings  to the National Gallery.

Prompt: キルトの袖をつけた男の肖像に焦点を当てて、その起源を説明してください。英語で出力して下さい。


section

キルトの袖をつけた男の肖像

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark  and Jan Gossaert's Adoration of the Kings  to the National Gallery.

Prompt: キルトの袖をつけた男の肖像の起源を説明してください。英語で出力して下さい。


section

キルトの袖をつけた男の肖像

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark  and Jan Gossaert's Adoration of the Kings  to the National Gallery.

Prompt: キルトの袖をつけた男の肖像はどのように起源を説明していますか？英語で出力して下さい。


section

キルトの袖をつけた男の肖像

The work, or possibly a copy of it, was part of the collection of Alfonso Lopez, an art dealer in Amsterdam in 1639, where Rembrandt would have seen it, and it was engraved, with an inscribed identification as Ariosto.  Still identified as Ariosto, it was apparently sold in Paris in December 1641, and a letter survives written to a friend to advise Anthony van Dyck it was up for sale, and praising it. Van Dyck may have arranged to buy it, though he would have been dead before it arrived, as he died in London on 9 December 1641. But a Titian portrait of Ariosto is mentioned in the inventory of his estate. It was possibly bought by Charles I – a Titian portrait of Ariosto was listed in a catalogue of his goods in 1644, perhaps from Van Dyck's estate.The first certain appearance of the present picture was in the collection of John Bligh, 4th Earl of Darnley at Cobham Hall by 1824; he and his successors exhibited it several times, at the British Institution, the Art Treasures Exhibition, Manchester 1857, and the Royal Academy, and it became well-known, as did a version once at Mentmore Towers that is now regarded as a copy.It was sold to Sir George Donaldson in 1904. After some negotiation, the National Gallery acquired it from Donaldson for £30,000, the price he had paid for it, with contributions from Lord Iveagh, Waldorf Astor, John Pierpont Morgan, Alfred Beit, the government, and others. The sale marked something of a turning-point, after two decades or more when outstanding works from aristocratic British collections had been allowed to cross the Atlantic, though there was a precedent in 1890, with a government grant of £25,000 for a group bought from the Earl of Radnor, including Holbein's The Ambassadors.  Similar arrangements would bring Holbein's Portrait of Christina of Denmark  and Jan Gossaert's Adoration of the Kings  to the National Gallery.

Prompt: キルトの袖をつけた男の肖像に関して、どのように起源が議論されていますか？英語で出力して下さい。


section

キルトの袖をつけた男の肖像

Prompt: キルトの袖をつけた男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。


section

キルトの袖をつけた男の肖像

Prompt: キルトの袖をつけた男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。


section

キルトの袖をつけた男の肖像

Prompt: キルトの袖をつけた男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。


section

キルトの袖をつけた男の肖像

Prompt: キルトの袖をつけた男の肖像に関して、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。


section

キルトの袖をつけた男の肖像

Campbell, Lorne, Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries, 1990, Yale, Cavendish, Richard, Clark, Kenneth, An Introduction to Rembrandt, 1978, London, John MurrayGould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, Hartt, Frederick, History of Italian Renaissance Art, 1987, Thames & Hudson , ngmuir, Erika, The National Gallery companion guide, 1997 revised edition, National Gallery, London, "NG Key facts", "NG Tech", Jill Dunkerton, Marika Spring, et al., "Titian’s Painting Technique to c.1540", National Gallery Technical Bulletin, volume 34, 2013, pp. 4–31. . Catalogue part I pp. 52–55 . Penny, Nicholas, in David Jaffé , Titian, The National Gallery Company/Yale, London 2003, Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, 1961, Barrie and Rockliffe, London Steer, John, Venetian painting: A concise history, 1970, London: Thames and Hudson ,  White, Christopher, Buvelot, Quentin , Rembrandt by himself, 1999, National Gallery, London/Mauritshuis, The Hague,

Prompt: キルトの袖をつけた男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。

London
National Gallery
Rembrandt
National Gallery
Titian


section

キルトの袖をつけた男の肖像

Campbell, Lorne, Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries, 1990, Yale, Cavendish, Richard, Clark, Kenneth, An Introduction to Rembrandt, 1978, London, John MurrayGould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, Hartt, Frederick, History of Italian Renaissance Art, 1987, Thames & Hudson , ngmuir, Erika, The National Gallery companion guide, 1997 revised edition, National Gallery, London, "NG Key facts", "NG Tech", Jill Dunkerton, Marika Spring, et al., "Titian’s Painting Technique to c.1540", National Gallery Technical Bulletin, volume 34, 2013, pp. 4–31. . Catalogue part I pp. 52–55 . Penny, Nicholas, in David Jaffé , Titian, The National Gallery Company/Yale, London 2003, Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, 1961, Barrie and Rockliffe, London Steer, John, Venetian painting: A concise history, 1970, London: Thames and Hudson ,  White, Christopher, Buvelot, Quentin , Rembrandt by himself, 1999, National Gallery, London/Mauritshuis, The Hague,

Prompt: キルトの袖をつけた男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。

London
National Gallery
Rembrandt
National Gallery
Titian


section

キルトの袖をつけた男の肖像

Campbell, Lorne, Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries, 1990, Yale, Cavendish, Richard, Clark, Kenneth, An Introduction to Rembrandt, 1978, London, John MurrayGould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, Hartt, Frederick, History of Italian Renaissance Art, 1987, Thames & Hudson , ngmuir, Erika, The National Gallery companion guide, 1997 revised edition, National Gallery, London, "NG Key facts", "NG Tech", Jill Dunkerton, Marika Spring, et al., "Titian’s Painting Technique to c.1540", National Gallery Technical Bulletin, volume 34, 2013, pp. 4–31. . Catalogue part I pp. 52–55 . Penny, Nicholas, in David Jaffé , Titian, The National Gallery Company/Yale, London 2003, Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, 1961, Barrie and Rockliffe, London Steer, John, Venetian painting: A concise history, 1970, London: Thames and Hudson ,  White, Christopher, Buvelot, Quentin , Rembrandt by himself, 1999, National Gallery, London/Mauritshuis, The Hague,

Prompt: キルトの袖をつけた男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。

London
National Gallery
Rembrandt
National Gallery
Titian


section

キルトの袖をつけた男の肖像

Campbell, Lorne, Renaissance Portraits, European Portrait-Painting in the 14th, 15th and 16th Centuries, 1990, Yale, Cavendish, Richard, Clark, Kenneth, An Introduction to Rembrandt, 1978, London, John MurrayGould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, Hartt, Frederick, History of Italian Renaissance Art, 1987, Thames & Hudson , ngmuir, Erika, The National Gallery companion guide, 1997 revised edition, National Gallery, London, "NG Key facts", "NG Tech", Jill Dunkerton, Marika Spring, et al., "Titian’s Painting Technique to c.1540", National Gallery Technical Bulletin, volume 34, 2013, pp. 4–31. . Catalogue part I pp. 52–55 . Penny, Nicholas, in David Jaffé , Titian, The National Gallery Company/Yale, London 2003, Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, 1961, Barrie and Rockliffe, London Steer, John, Venetian painting: A concise history, 1970, London: Thames and Hudson ,  White, Christopher, Buvelot, Quentin , Rembrandt by himself, 1999, National Gallery, London/Mauritshuis, The Hague,

Prompt: キルトの袖をつけた男の肖像に関して、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。

London
National Gallery
Rembrandt
National Gallery
Titian


section

聖女マルガリータと聖アンサヌスのいる受胎告知

The Annunciation with St. Margaret and St. Ansanus  is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Annunciation
Ansanus
Siena Cathedral
Florence
Gothic art
Italy
Lippo Memmi
Siena Cathedral
Simone Martini
Ansanus
Uffizi


section

聖女マルガリータと聖アンサヌスのいる受胎告知

The Annunciation with St. Margaret and St. Ansanus  is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知の抽象を説明してください。英語で出力して下さい。

Annunciation
Ansanus
Siena Cathedral
Florence
Gothic art
Italy
Lippo Memmi
Siena Cathedral
Simone Martini
Ansanus
Uffizi


section

聖女マルガリータと聖アンサヌスのいる受胎告知

The Annunciation with St. Margaret and St. Ansanus  is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知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。

Annunciation
Ansanus
Siena Cathedral
Florence
Gothic art
Italy
Lippo Memmi
Siena Cathedral
Simone Martini
Ansanus
Uffizi


section

聖女マルガリータと聖アンサヌスのいる受胎告知

The Annunciation with St. Margaret and St. Ansanus  is a painting by the Italian Gothic artists Simone Martini and Lippo Memmi, now housed in the Uffizi Gallery in Florence, Italy. It is a wooden triptych painted in tempera and gold, with a central panel having double size. Considered Martini's masterwork and one of the most outstanding works of Gothic painting, the work was originally painted for a side altar in the Siena Cathedral.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知に関して、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。

Annunciation
Ansanus
Siena Cathedral
Florence
Gothic art
Italy
Lippo Memmi
Siena Cathedral
Simone Martini
Ansanus
Uffizi


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

The painting originally decorated the altar of St. Ansanus in the Cathedral of Siena, and had been commissioned as part of a cycle of four altarpieces dedicated to the city's patrons saints  during 1330–1350. These included the Presentation at the Temple by Ambrogio Lorenzetti , the Nativity of the Virgin by Pietro Lorenzetti , and a Nativity, now disassembled, attributed to Bartolomeo Bulgarini from 1351 . All the paintings should represent stories of the Life of the Madonna, and were crowned by Duccio di Buoninsegna's Maestà. The artists' use of expensive lacquer, extensive gold leafing and the difficult to obtain lapis lazuli in the painting demonstrates the communal prestige of the commission.The date of the painting is specified in a fragment of the original frame, now embedded in the 19th-century renovation. It lists the name of Simone Martini and his brother-in-law Lippo Memmi , although it is unknown which parts they executed. A hypothesis is that Martini painted the central panel, while Memmi was responsible for the side saints and the tondoes with prophets in the upper part.The work, in both size and style, has no similarities with any other contemporary painting in Italy. It can be compared instead to French illuminated manuscripts of that time, as well as to paintings from Germany or England. His "northern European" style granted Martini a call from the papal court in Avignon, where there were Italian but no Florentine painters, as the Giottesque classical manner was met with little interest by the Gothic culture of the area.The painting remained in the cathedral until 1799, when Grand Duke Peter Leopold had it moved to Florence in exchange of two canvasses by Luca Giordano. The original frame, carved by Paolo di Camporegio and gilt by Memmi, was renovated in 1420 and replaced by a modern one in the 19th century.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Ambrogio Lorenzetti
Ansanus
Avignon
Bartolomeo Bulgarini
Duccio
Florence
Italy
Lippo Memmi
Luca Giordano
Pietro Lorenzetti
Simone Martini
Ansanus


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

The painting originally decorated the altar of St. Ansanus in the Cathedral of Siena, and had been commissioned as part of a cycle of four altarpieces dedicated to the city's patrons saints  during 1330–1350. These included the Presentation at the Temple by Ambrogio Lorenzetti , the Nativity of the Virgin by Pietro Lorenzetti , and a Nativity, now disassembled, attributed to Bartolomeo Bulgarini from 1351 . All the paintings should represent stories of the Life of the Madonna, and were crowned by Duccio di Buoninsegna's Maestà. The artists' use of expensive lacquer, extensive gold leafing and the difficult to obtain lapis lazuli in the painting demonstrates the communal prestige of the commission.The date of the painting is specified in a fragment of the original frame, now embedded in the 19th-century renovation. It lists the name of Simone Martini and his brother-in-law Lippo Memmi , although it is unknown which parts they executed. A hypothesis is that Martini painted the central panel, while Memmi was responsible for the side saints and the tondoes with prophets in the upper part.The work, in both size and style, has no similarities with any other contemporary painting in Italy. It can be compared instead to French illuminated manuscripts of that time, as well as to paintings from Germany or England. His "northern European" style granted Martini a call from the papal court in Avignon, where there were Italian but no Florentine painters, as the Giottesque classical manner was met with little interest by the Gothic culture of the area.The painting remained in the cathedral until 1799, when Grand Duke Peter Leopold had it moved to Florence in exchange of two canvasses by Luca Giordano. The original frame, carved by Paolo di Camporegio and gilt by Memmi, was renovated in 1420 and replaced by a modern one in the 19th century.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知の歴史を説明してください。英語で出力して下さい。

Ambrogio Lorenzetti
Ansanus
Avignon
Bartolomeo Bulgarini
Duccio
Florence
Italy
Lippo Memmi
Luca Giordano
Pietro Lorenzetti
Simone Martini
Ansanus


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

The painting originally decorated the altar of St. Ansanus in the Cathedral of Siena, and had been commissioned as part of a cycle of four altarpieces dedicated to the city's patrons saints  during 1330–1350. These included the Presentation at the Temple by Ambrogio Lorenzetti , the Nativity of the Virgin by Pietro Lorenzetti , and a Nativity, now disassembled, attributed to Bartolomeo Bulgarini from 1351 . All the paintings should represent stories of the Life of the Madonna, and were crowned by Duccio di Buoninsegna's Maestà. The artists' use of expensive lacquer, extensive gold leafing and the difficult to obtain lapis lazuli in the painting demonstrates the communal prestige of the commission.The date of the painting is specified in a fragment of the original frame, now embedded in the 19th-century renovation. It lists the name of Simone Martini and his brother-in-law Lippo Memmi , although it is unknown which parts they executed. A hypothesis is that Martini painted the central panel, while Memmi was responsible for the side saints and the tondoes with prophets in the upper part.The work, in both size and style, has no similarities with any other contemporary painting in Italy. It can be compared instead to French illuminated manuscripts of that time, as well as to paintings from Germany or England. His "northern European" style granted Martini a call from the papal court in Avignon, where there were Italian but no Florentine painters, as the Giottesque classical manner was met with little interest by the Gothic culture of the area.The painting remained in the cathedral until 1799, when Grand Duke Peter Leopold had it moved to Florence in exchange of two canvasses by Luca Giordano. The original frame, carved by Paolo di Camporegio and gilt by Memmi, was renovated in 1420 and replaced by a modern one in the 19th century.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知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。

Ambrogio Lorenzetti
Ansanus
Avignon
Bartolomeo Bulgarini
Duccio
Florence
Italy
Lippo Memmi
Luca Giordano
Pietro Lorenzetti
Simone Martini
Ansanus


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

The painting originally decorated the altar of St. Ansanus in the Cathedral of Siena, and had been commissioned as part of a cycle of four altarpieces dedicated to the city's patrons saints  during 1330–1350. These included the Presentation at the Temple by Ambrogio Lorenzetti , the Nativity of the Virgin by Pietro Lorenzetti , and a Nativity, now disassembled, attributed to Bartolomeo Bulgarini from 1351 . All the paintings should represent stories of the Life of the Madonna, and were crowned by Duccio di Buoninsegna's Maestà. The artists' use of expensive lacquer, extensive gold leafing and the difficult to obtain lapis lazuli in the painting demonstrates the communal prestige of the commission.The date of the painting is specified in a fragment of the original frame, now embedded in the 19th-century renovation. It lists the name of Simone Martini and his brother-in-law Lippo Memmi , although it is unknown which parts they executed. A hypothesis is that Martini painted the central panel, while Memmi was responsible for the side saints and the tondoes with prophets in the upper part.The work, in both size and style, has no similarities with any other contemporary painting in Italy. It can be compared instead to French illuminated manuscripts of that time, as well as to paintings from Germany or England. His "northern European" style granted Martini a call from the papal court in Avignon, where there were Italian but no Florentine painters, as the Giottesque classical manner was met with little interest by the Gothic culture of the area.The painting remained in the cathedral until 1799, when Grand Duke Peter Leopold had it moved to Florence in exchange of two canvasses by Luca Giordano. The original frame, carved by Paolo di Camporegio and gilt by Memmi, was renovated in 1420 and replaced by a modern one in the 19th century.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知に関して、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。

Ambrogio Lorenzetti
Ansanus
Avignon
Bartolomeo Bulgarini
Duccio
Florence
Italy
Lippo Memmi
Luca Giordano
Pietro Lorenzetti
Simone Martini
Ansanus


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

The work is composed of a large central panel depicting the Annunciation, and two side panels with St. Ansanus , and female saint, generarally identified with St. Maxima or St. Margaret, in the right, and four tondos in the cusps: Jeremiah, Ezechiel, Isiah and Daniel.The Annunciation shows the archangel Gabriel entering the house of the Virgin Mary to tell her that she will soon bear the child Jesus, whose name means "savior". Gabriel holds an olive branch in his hand, a traditional symbol of peace, while pointing at the Holy Ghost's dove with the other. The dove is descending from heaven, from the center of the mandorla of eight angels above, about to enter the Virgin's right ear. In fact, along the path of the dove, viewers see Gabriel's utterance: }} . The angel's mantle shows a detailed "tartar cloth" pattern and fine gilt feathers.Mary, sitting on a throne, is portrayed at the moment that she is startled out of her reading, reacting with a graceful and composed reluctance, looking with surprise at the celestial messenger. Her dress has an arabesque-like pattern.At the sides, the two patrons saints of the cathedral are separated by the central scene by two decorate twisting columns. The background, completely gilt, has a vase of lilies, an allegory of purity often associated to the Virgin Mary.</ref>}}The use of a Gothic line, plus such realistic elements as the book, the vase, the throne, the pavement in perspective, the realistic action of the two figures and their subtle nuances of character are a substantial detachment from the bi-dimensionality typical of Byzantine art.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Annunciation
Ansanus
Byzantine art
Ansanus


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

The work is composed of a large central panel depicting the Annunciation, and two side panels with St. Ansanus , and female saint, generarally identified with St. Maxima or St. Margaret, in the right, and four tondos in the cusps: Jeremiah, Ezechiel, Isiah and Daniel.The Annunciation shows the archangel Gabriel entering the house of the Virgin Mary to tell her that she will soon bear the child Jesus, whose name means "savior". Gabriel holds an olive branch in his hand, a traditional symbol of peace, while pointing at the Holy Ghost's dove with the other. The dove is descending from heaven, from the center of the mandorla of eight angels above, about to enter the Virgin's right ear. In fact, along the path of the dove, viewers see Gabriel's utterance: }} . The angel's mantle shows a detailed "tartar cloth" pattern and fine gilt feathers.Mary, sitting on a throne, is portrayed at the moment that she is startled out of her reading, reacting with a graceful and composed reluctance, looking with surprise at the celestial messenger. Her dress has an arabesque-like pattern.At the sides, the two patrons saints of the cathedral are separated by the central scene by two decorate twisting columns. The background, completely gilt, has a vase of lilies, an allegory of purity often associated to the Virgin Mary.</ref>}}The use of a Gothic line, plus such realistic elements as the book, the vase, the throne, the pavement in perspective, the realistic action of the two figures and their subtle nuances of character are a substantial detachment from the bi-dimensionality typical of Byzantine art.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知の説明を説明してください。英語で出力して下さい。

Annunciation
Ansanus
Byzantine art
Ansanus


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

The work is composed of a large central panel depicting the Annunciation, and two side panels with St. Ansanus , and female saint, generarally identified with St. Maxima or St. Margaret, in the right, and four tondos in the cusps: Jeremiah, Ezechiel, Isiah and Daniel.The Annunciation shows the archangel Gabriel entering the house of the Virgin Mary to tell her that she will soon bear the child Jesus, whose name means "savior". Gabriel holds an olive branch in his hand, a traditional symbol of peace, while pointing at the Holy Ghost's dove with the other. The dove is descending from heaven, from the center of the mandorla of eight angels above, about to enter the Virgin's right ear. In fact, along the path of the dove, viewers see Gabriel's utterance: }} . The angel's mantle shows a detailed "tartar cloth" pattern and fine gilt feathers.Mary, sitting on a throne, is portrayed at the moment that she is startled out of her reading, reacting with a graceful and composed reluctance, looking with surprise at the celestial messenger. Her dress has an arabesque-like pattern.At the sides, the two patrons saints of the cathedral are separated by the central scene by two decorate twisting columns. The background, completely gilt, has a vase of lilies, an allegory of purity often associated to the Virgin Mary.</ref>}}The use of a Gothic line, plus such realistic elements as the book, the vase, the throne, the pavement in perspective, the realistic action of the two figures and their subtle nuances of character are a substantial detachment from the bi-dimensionality typical of Byzantine art.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知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。

Annunciation
Ansanus
Byzantine art
Ansanus


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

The work is composed of a large central panel depicting the Annunciation, and two side panels with St. Ansanus , and female saint, generarally identified with St. Maxima or St. Margaret, in the right, and four tondos in the cusps: Jeremiah, Ezechiel, Isiah and Daniel.The Annunciation shows the archangel Gabriel entering the house of the Virgin Mary to tell her that she will soon bear the child Jesus, whose name means "savior". Gabriel holds an olive branch in his hand, a traditional symbol of peace, while pointing at the Holy Ghost's dove with the other. The dove is descending from heaven, from the center of the mandorla of eight angels above, about to enter the Virgin's right ear. In fact, along the path of the dove, viewers see Gabriel's utterance: }} . The angel's mantle shows a detailed "tartar cloth" pattern and fine gilt feathers.Mary, sitting on a throne, is portrayed at the moment that she is startled out of her reading, reacting with a graceful and composed reluctance, looking with surprise at the celestial messenger. Her dress has an arabesque-like pattern.At the sides, the two patrons saints of the cathedral are separated by the central scene by two decorate twisting columns. The background, completely gilt, has a vase of lilies, an allegory of purity often associated to the Virgin Mary.</ref>}}The use of a Gothic line, plus such realistic elements as the book, the vase, the throne, the pavement in perspective, the realistic action of the two figures and their subtle nuances of character are a substantial detachment from the bi-dimensionality typical of Byzantine art.

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知に関して、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。

Annunciation
Ansanus
Byzantine art
Ansanus


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

Presentation at the Temple by Ambrogio Lorenzetti

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

Presentation at the Temple by Ambrogio Lorenzetti

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知の参照を説明してください。英語で出力して下さい。


section

聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

Presentation at the Temple by Ambrogio Lorenzetti

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知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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聖女マルガリータと聖アンサヌスのいる受胎告知

Annunciation with St. Margaret and St. Ansanus

Presentation at the Temple by Ambrogio Lorenzetti

Prompt: 聖女マルガリータと聖アンサヌスのいる受胎告知に関して、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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フローラ (ティツィアーノ)

Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.

Prompt: フローラ (ティツィアーノ)に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Florence Renaissance Titian Uffizi Uffizi


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フローラ (ティツィアーノ)

Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.

Prompt: フローラ (ティツィアーノ)の抽象を説明してください。英語で出力して下さい。

Florence Renaissance Titian Uffizi Uffizi


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フローラ (ティツィアーノ)

Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.

Prompt: フローラ (ティツィアーノ)はどのように抽象を説明していますか？英語で出力して下さい。

Florence Renaissance Titian Uffizi Uffizi


section

フローラ (ティツィアーノ)

Flora is an oil painting by Italian late Renaissance painter Titian, dated to around 1515 and now held at the Uffizi Gallery in Florence.

Prompt: フローラ (ティツィアーノ)に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Florence Renaissance Titian Uffizi Uffizi


section

フローラ (ティツィアーノ)

The work was reproduced in numerous 16th century etchings. ter, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York. ter included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.In the 18th century, it was erroneously attributed to Palma the Elder.

Prompt: フローラ (ティツィアーノ)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。

Amsterdam
Archduke Leopold Wilhelm of Austria
Brussels
Kunsthistorisches Museum
Rembrandt
Saskia Dressing as Flora
Uffizi
Uffizi
Vienna


section

フローラ (ティツィアーノ)

The work was reproduced in numerous 16th century etchings. ter, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York. ter included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.In the 18th century, it was erroneously attributed to Palma the Elder.

Prompt: フローラ (ティツィアーノ)の歴史を説明してください。英語で出力して下さい。

Amsterdam
Archduke Leopold Wilhelm of Austria
Brussels
Kunsthistorisches Museum
Rembrandt
Saskia Dressing as Flora
Uffizi
Uffizi
Vienna


section

フローラ (ティツィアーノ)

The work was reproduced in numerous 16th century etchings. ter, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York. ter included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.In the 18th century, it was erroneously attributed to Palma the Elder.

Prompt: フローラ (ティツィアーノ)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。

Amsterdam
Archduke Leopold Wilhelm of Austria
Brussels
Kunsthistorisches Museum
Rembrandt
Saskia Dressing as Flora
Uffizi
Uffizi
Vienna


section

フローラ (ティツィアーノ)

The work was reproduced in numerous 16th century etchings. ter, it followed an unclear series of changes of hands at Brussels and Vienna. In the 17th century, it was sold by the Spanish ambassador at Amsterdam to Archduke Leopold Wilhelm of Austria and was cited by Rembrandt in his Saskia Dressing as Flora  of London and in two portraits in Dresden and New York. ter included in the Kunsthistorisches Museum of Vienna, it was one of the works exchanged with the Uffizi.In the 18th century, it was erroneously attributed to Palma the Elder.

Prompt: フローラ (ティツィアーノ)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。

Amsterdam
Archduke Leopold Wilhelm of Austria
Brussels
Kunsthistorisches Museum
Rembrandt
Saskia Dressing as Flora
Uffizi
Uffizi
Vienna


section

フローラ (ティツィアーノ)

It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his ura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.

Prompt: フローラ (ティツィアーノ)に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

フローラ (ティツィアーノ)

It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his ura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.

Prompt: フローラ (ティツィアーノ)の説明を説明してください。英語で出力して下さい。


section

フローラ (ティツィアーノ)

It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his ura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.

Prompt: フローラ (ティツィアーノ)はどのように説明を説明していますか？英語で出力して下さい。


section

フローラ (ティツィアーノ)

It portrays an idealized beautiful woman, a model established in the Venetian school by Titian's master Giorgione with his ura. Her left hand holds a pink-shaded mantle, and her right holds a handful of flowers and leaves.The woman was portrayed by Titian in numerous other works of the period, including the Woman at the Mirror, the Vanity, Salome and Violante, as well as some Holy Conversations. The meaning of the painting is disputed: some, basing for example to inscriptions added to the 16th century reproductions, identifies the woman as a courtesan; other consider it a symbol of nuptial love, although her dress is not a dressing one. The identification with Flora, the ancient goddess of Spring and vegetation, derives from the presence of Spring flowers in her hands.

Prompt: フローラ (ティツィアーノ)に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

フローラ (ティツィアーノ)

Prompt: フローラ (ティツィアーノ)に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

フローラ (ティツィアーノ)

Prompt: フローラ (ティツィアーノ)の参照を説明してください。英語で出力して下さい。


section

フローラ (ティツィアーノ)

Prompt: フローラ (ティツィアーノ)はどのように参照を説明していますか？英語で出力して下さい。


section

フローラ (ティツィアーノ)

Prompt: フローラ (ティツィアーノ)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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アンドロス島のバッカス祭

The Bacchanal of the Andrians or The Andrians is an oil painting by Titian. It is signed ".[aciebat]" and is dated to 1523–1526.

Prompt: アンドロス島のバッカス祭に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

アンドロス島のバッカス祭

The Bacchanal of the Andrians or The Andrians is an oil painting by Titian. It is signed ".[aciebat]" and is dated to 1523–1526.

Prompt: アンドロス島のバッカス祭の抽象を説明してください。英語で出力して下さい。


section

アンドロス島のバッカス祭

The Bacchanal of the Andrians or The Andrians is an oil painting by Titian. It is signed ".[aciebat]" and is dated to 1523–1526.

Prompt: アンドロス島のバッカス祭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

アンドロス島のバッカス祭

The Bacchanal of the Andrians or The Andrians is an oil painting by Titian. It is signed ".[aciebat]" and is dated to 1523–1526.

Prompt: アンドロス島のバッカス祭に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

アンドロス島のバッカス祭

The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus  and Bacchus and Ariadne  and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.In 1598, control of Ferrara passed to the Papal State and the Este family had to withdraw to Modena. During the transfer, cardinal and papal legate Pietro Aldobrandini appropriated many paintings, among which were The Bacchanal and The Worship of Venus. Aldobrandini never exhibited the taken paintings. His theft only became known in 1629 after the paintings had come into the Ludovisi inheritance and then were sold to the Duke of Monterrey in payment of the Principality of Piombino. They were then donated to Philip IV of Spain in 1639. The first documentation of the paintings in Spain date to the inventories of the Royal Alcázar of Madrid in 1666, 1686, and 1700.The three canvases of Titian were admired and copied as much in Italy as in Spain by artists like Pieter Paul Rubens, Guido Reni, Nicolas Poussin, and Diego Velázquez, and they contributed to the development of the Baroque style. Rubens' copies of The Bacchanal are housed at the Nationalmuseum in Stockholm.}}The painting is now held at the Museo del Prado in Madrid.

Prompt: アンドロス島のバッカス祭に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Bacchus and Ariadne
Baroque
Camerini d'alabastro
Diego Velázquez
Guido Reni
Madrid
Museo del Prado
Nationalmuseum
Nicolas Poussin
Philip IV of Spain
Pietro Aldobrandini
Principality of Piombino
Royal Alcázar of Madrid
The Feast of the Gods
The Worship of Venus
Titian


section

アンドロス島のバッカス祭

The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus  and Bacchus and Ariadne  and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.In 1598, control of Ferrara passed to the Papal State and the Este family had to withdraw to Modena. During the transfer, cardinal and papal legate Pietro Aldobrandini appropriated many paintings, among which were The Bacchanal and The Worship of Venus. Aldobrandini never exhibited the taken paintings. His theft only became known in 1629 after the paintings had come into the Ludovisi inheritance and then were sold to the Duke of Monterrey in payment of the Principality of Piombino. They were then donated to Philip IV of Spain in 1639. The first documentation of the paintings in Spain date to the inventories of the Royal Alcázar of Madrid in 1666, 1686, and 1700.The three canvases of Titian were admired and copied as much in Italy as in Spain by artists like Pieter Paul Rubens, Guido Reni, Nicolas Poussin, and Diego Velázquez, and they contributed to the development of the Baroque style. Rubens' copies of The Bacchanal are housed at the Nationalmuseum in Stockholm.}}The painting is now held at the Museo del Prado in Madrid.

Prompt: アンドロス島のバッカス祭の歴史を説明してください。英語で出力して下さい。

Bacchus and Ariadne
Baroque
Camerini d'alabastro
Diego Velázquez
Guido Reni
Madrid
Museo del Prado
Nationalmuseum
Nicolas Poussin
Philip IV of Spain
Pietro Aldobrandini
Principality of Piombino
Royal Alcázar of Madrid
The Feast of the Gods
The Worship of Venus
Titian


section

アンドロス島のバッカス祭

The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus  and Bacchus and Ariadne  and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.In 1598, control of Ferrara passed to the Papal State and the Este family had to withdraw to Modena. During the transfer, cardinal and papal legate Pietro Aldobrandini appropriated many paintings, among which were The Bacchanal and The Worship of Venus. Aldobrandini never exhibited the taken paintings. His theft only became known in 1629 after the paintings had come into the Ludovisi inheritance and then were sold to the Duke of Monterrey in payment of the Principality of Piombino. They were then donated to Philip IV of Spain in 1639. The first documentation of the paintings in Spain date to the inventories of the Royal Alcázar of Madrid in 1666, 1686, and 1700.The three canvases of Titian were admired and copied as much in Italy as in Spain by artists like Pieter Paul Rubens, Guido Reni, Nicolas Poussin, and Diego Velázquez, and they contributed to the development of the Baroque style. Rubens' copies of The Bacchanal are housed at the Nationalmuseum in Stockholm.}}The painting is now held at the Museo del Prado in Madrid.

Prompt: アンドロス島のバッカス祭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。

Bacchus and Ariadne
Baroque
Camerini d'alabastro
Diego Velázquez
Guido Reni
Madrid
Museo del Prado
Nationalmuseum
Nicolas Poussin
Philip IV of Spain
Pietro Aldobrandini
Principality of Piombino
Royal Alcázar of Madrid
The Feast of the Gods
The Worship of Venus
Titian


section

アンドロス島のバッカス祭

The painting was made by Titian for the Sala dei Baccanali in the Camerini d'alabastro for Alfonso I d'Este, after The Worship of Venus  and Bacchus and Ariadne  and Titian's intervention on The Feast of the Gods by Bellini in 1524–1525 where he retouched the landscape to match the style of the other paintings.In 1598, control of Ferrara passed to the Papal State and the Este family had to withdraw to Modena. During the transfer, cardinal and papal legate Pietro Aldobrandini appropriated many paintings, among which were The Bacchanal and The Worship of Venus. Aldobrandini never exhibited the taken paintings. His theft only became known in 1629 after the paintings had come into the Ludovisi inheritance and then were sold to the Duke of Monterrey in payment of the Principality of Piombino. They were then donated to Philip IV of Spain in 1639. The first documentation of the paintings in Spain date to the inventories of the Royal Alcázar of Madrid in 1666, 1686, and 1700.The three canvases of Titian were admired and copied as much in Italy as in Spain by artists like Pieter Paul Rubens, Guido Reni, Nicolas Poussin, and Diego Velázquez, and they contributed to the development of the Baroque style. Rubens' copies of The Bacchanal are housed at the Nationalmuseum in Stockholm.}}The painting is now held at the Museo del Prado in Madrid.

Prompt: アンドロス島のバッカス祭に関して、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。

Bacchus and Ariadne
Baroque
Camerini d'alabastro
Diego Velázquez
Guido Reni
Madrid
Museo del Prado
Nationalmuseum
Nicolas Poussin
Philip IV of Spain
Pietro Aldobrandini
Principality of Piombino
Royal Alcázar of Madrid
The Feast of the Gods
The Worship of Venus
Titian


section

アンドロス島のバッカス祭

Prompt: アンドロス島のバッカス祭に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

アンドロス島のバッカス祭

Prompt: アンドロス島のバッカス祭の参照を説明してください。英語で出力して下さい。


section

アンドロス島のバッカス祭

Prompt: アンドロス島のバッカス祭はどのように参照を説明していますか？英語で出力して下さい。


section

アンドロス島のバッカス祭

Prompt: アンドロス島のバッカス祭に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

アンドロス島のバッカス祭

Prompt: アンドロス島のバッカス祭に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

アンドロス島のバッカス祭

Prompt: アンドロス島のバッカス祭の参考文献を説明してください。英語で出力して下さい。


section

アンドロス島のバッカス祭

Prompt: アンドロス島のバッカス祭はどのように参考文献を説明していますか？英語で出力して下さい。


section

アンドロス島のバッカス祭

Prompt: アンドロス島のバッカス祭に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


subsection

アンドロス島のバッカス祭

The painting is set on the island of Andros. A sleeping nymph and a urinating boy are seen in the lower right foreground while men and women celebrate with jugs of wine. The absence of Bacchus from the painting is explained by Erwin Panofsky, who suggests that the god must be on the departing ship seen in the center background. Due to the artistic liberties Titian took in painting these figures, it is difficult to identify them.The decorative programme included other major paintings celebrating Bacchus and Venus, the gods of wine and love. Like its predecessor Bacchus and Ariadne, The Bacchanal of the Andrians was inspired by the Imagines of Philostratus.

Prompt: アンドロス島のバッカス祭の文脈で、神話と歴史を説明してください。英語で出力して下さい。

Andros
Bacchus and Ariadne
Erwin Panofsky
Philostratus
Titian


subsection

アンドロス島のバッカス祭

The painting is set on the island of Andros. A sleeping nymph and a urinating boy are seen in the lower right foreground while men and women celebrate with jugs of wine. The absence of Bacchus from the painting is explained by Erwin Panofsky, who suggests that the god must be on the departing ship seen in the center background. Due to the artistic liberties Titian took in painting these figures, it is difficult to identify them.The decorative programme included other major paintings celebrating Bacchus and Venus, the gods of wine and love. Like its predecessor Bacchus and Ariadne, The Bacchanal of the Andrians was inspired by the Imagines of Philostratus.

Prompt: アンドロス島のバッカス祭の歴史に関する神話を説明してください。英語で出力して下さい。

Andros
Bacchus and Ariadne
Erwin Panofsky
Philostratus
Titian


subsection

アンドロス島のバッカス祭

The painting is set on the island of Andros. A sleeping nymph and a urinating boy are seen in the lower right foreground while men and women celebrate with jugs of wine. The absence of Bacchus from the painting is explained by Erwin Panofsky, who suggests that the god must be on the departing ship seen in the center background. Due to the artistic liberties Titian took in painting these figures, it is difficult to identify them.The decorative programme included other major paintings celebrating Bacchus and Venus, the gods of wine and love. Like its predecessor Bacchus and Ariadne, The Bacchanal of the Andrians was inspired by the Imagines of Philostratus.

Prompt: アンドロス島のバッカス祭では、どのように歴史の神話が説明されていますか？英語で出力して下さい。

Andros
Bacchus and Ariadne
Erwin Panofsky
Philostratus
Titian