section

ブージヴァルのダンス

Dance at Bougival is one of three paintings produced for the art dealer Paul Durand-Ruel. The three paintings are very similar to each other, each depicting a couple dancing in a different environment. The other pieces, Dance in the City and Dance in the Country, have similar pastel coloring and a whimsical aura. The paintings were all completed between January and April 1883, described by Colin B. Bailey as, "among the most productive three months in Renoir's career." These paintings combined Renoir's early stylistic endeavors, painting outside scenes, with his work on portraits that he developed while in Italy. By doing so, the viewer can understand that Renoir is depicting the same dance as it occurs in three different parts of French society. There is a formal ball depicted in Dance in the City, a country dance in Dance in the Country, and a more informal outdoor event in Dance at Bougival.

Prompt: ブージヴァルのダンスはどのようにダンスの絵画を説明していますか？英語で出力して下さい。

Bougival
Dance in the City
Dance in the Country
Paul Durand-Ruel


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ブージヴァルのダンス

Dance at Bougival is one of three paintings produced for the art dealer Paul Durand-Ruel. The three paintings are very similar to each other, each depicting a couple dancing in a different environment. The other pieces, Dance in the City and Dance in the Country, have similar pastel coloring and a whimsical aura. The paintings were all completed between January and April 1883, described by Colin B. Bailey as, "among the most productive three months in Renoir's career." These paintings combined Renoir's early stylistic endeavors, painting outside scenes, with his work on portraits that he developed while in Italy. By doing so, the viewer can understand that Renoir is depicting the same dance as it occurs in three different parts of French society. There is a formal ball depicted in Dance in the City, a country dance in Dance in the Country, and a more informal outdoor event in Dance at Bougival.

Prompt: ブージヴァルのダンスに関して、どのようにダンスの絵画が議論されていますか？英語で出力して下さい。

Bougival
Dance in the City
Dance in the Country
Paul Durand-Ruel


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ブージヴァルのダンス

The painting was widely exhibited, first being shown in London soon after it was painted. At the opening of that show, for which the painting had not quite arrived in time, Colin Bailey notes, "The Academy, London's foremost art journal, lamented the absence of this 'great and audacious masterpiece.'" The painting traveled next to New York in the spring of 1886, where it was once again received with high praise. It was shown in Paris in 1892, then sold in 1894 to Félix François Depeaux who promised Paul Durand-Ruel at the time of the sale to eventually give them it to the Musée de Rouen, something that never happened due to Depeaux needing the money to finance a costly divorce.

Prompt: ブージヴァルのダンスに焦点を当てて、その展示会を説明してください。英語で出力して下さい。


section

ブージヴァルのダンス

The painting was widely exhibited, first being shown in London soon after it was painted. At the opening of that show, for which the painting had not quite arrived in time, Colin Bailey notes, "The Academy, London's foremost art journal, lamented the absence of this 'great and audacious masterpiece.'" The painting traveled next to New York in the spring of 1886, where it was once again received with high praise. It was shown in Paris in 1892, then sold in 1894 to Félix François Depeaux who promised Paul Durand-Ruel at the time of the sale to eventually give them it to the Musée de Rouen, something that never happened due to Depeaux needing the money to finance a costly divorce.

Prompt: ブージヴァルのダンスの展示会を説明してください。英語で出力して下さい。


section

ブージヴァルのダンス

The painting was widely exhibited, first being shown in London soon after it was painted. At the opening of that show, for which the painting had not quite arrived in time, Colin Bailey notes, "The Academy, London's foremost art journal, lamented the absence of this 'great and audacious masterpiece.'" The painting traveled next to New York in the spring of 1886, where it was once again received with high praise. It was shown in Paris in 1892, then sold in 1894 to Félix François Depeaux who promised Paul Durand-Ruel at the time of the sale to eventually give them it to the Musée de Rouen, something that never happened due to Depeaux needing the money to finance a costly divorce.

Prompt: ブージヴァルのダンスはどのように展示会を説明していますか？英語で出力して下さい。


section

ブージヴァルのダンス

The painting was widely exhibited, first being shown in London soon after it was painted. At the opening of that show, for which the painting had not quite arrived in time, Colin Bailey notes, "The Academy, London's foremost art journal, lamented the absence of this 'great and audacious masterpiece.'" The painting traveled next to New York in the spring of 1886, where it was once again received with high praise. It was shown in Paris in 1892, then sold in 1894 to Félix François Depeaux who promised Paul Durand-Ruel at the time of the sale to eventually give them it to the Musée de Rouen, something that never happened due to Depeaux needing the money to finance a costly divorce.

Prompt: ブージヴァルのダンスに関して、どのように展示会が議論されていますか？英語で出力して下さい。


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ブージヴァルのダンス

Paul Durand-Ruel 1894 sold to François Depeaux 1906 Edmond Decap  Maurice Barret-Décap 1937, Barret-Décap sell it, by Anthony H. Manley, Paris to artdealers Paul Brame  and César Mange de Hauke, Paris, for Jacques Seligmann et Fils, Paris. 1937, transferred to New York and sold to the Boston Museum of Fine Arts .

Prompt: ブージヴァルのダンスに焦点を当てて、その所有権を説明してください。英語で出力して下さい。

Boston
César Mange de Hauke
François Depeaux
Jacques Seligmann
Paul Durand-Ruel


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ブージヴァルのダンス

Paul Durand-Ruel 1894 sold to François Depeaux 1906 Edmond Decap  Maurice Barret-Décap 1937, Barret-Décap sell it, by Anthony H. Manley, Paris to artdealers Paul Brame  and César Mange de Hauke, Paris, for Jacques Seligmann et Fils, Paris. 1937, transferred to New York and sold to the Boston Museum of Fine Arts .

Prompt: ブージヴァルのダンスの所有権を説明してください。英語で出力して下さい。

Boston
César Mange de Hauke
François Depeaux
Jacques Seligmann
Paul Durand-Ruel


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ブージヴァルのダンス

Paul Durand-Ruel 1894 sold to François Depeaux 1906 Edmond Decap  Maurice Barret-Décap 1937, Barret-Décap sell it, by Anthony H. Manley, Paris to artdealers Paul Brame  and César Mange de Hauke, Paris, for Jacques Seligmann et Fils, Paris. 1937, transferred to New York and sold to the Boston Museum of Fine Arts .

Prompt: ブージヴァルのダンスはどのように所有権を説明していますか？英語で出力して下さい。

Boston
César Mange de Hauke
François Depeaux
Jacques Seligmann
Paul Durand-Ruel


section

ブージヴァルのダンス

Paul Durand-Ruel 1894 sold to François Depeaux 1906 Edmond Decap  Maurice Barret-Décap 1937, Barret-Décap sell it, by Anthony H. Manley, Paris to artdealers Paul Brame  and César Mange de Hauke, Paris, for Jacques Seligmann et Fils, Paris. 1937, transferred to New York and sold to the Boston Museum of Fine Arts .

Prompt: ブージヴァルのダンスに関して、どのように所有権が議論されていますか？英語で出力して下さい。

Boston
César Mange de Hauke
François Depeaux
Jacques Seligmann
Paul Durand-Ruel


section

ブージヴァルのダンス

Analysis has been done on the painting in recent years in an effort to understand how Renoir created this work and where he might have changed his mind along the way. This analysis has shown that the original depiction of the woman in the painting was much different from what Renoir finally settled upon. Notably, she wore a different hat from the one in the final painting and looked much more similar to the woman in the Dance in the Country painting, said to have been modeled by Aline Charigot, Renoir's wife. The analysis of these changes made by Renoir would not be possible without technological advancements that allow art historians to better understand the context in which artists worked. It is interesting to note the apparent change in model, and Renoir's regret at changing the color of the jacket provide further evidence for the fact that Renoir did not spend a significant amount of time planning for this work.

Prompt: ブージヴァルのダンスに焦点を当てて、そのX線解析を説明してください。英語で出力して下さい。


section

ブージヴァルのダンス

Analysis has been done on the painting in recent years in an effort to understand how Renoir created this work and where he might have changed his mind along the way. This analysis has shown that the original depiction of the woman in the painting was much different from what Renoir finally settled upon. Notably, she wore a different hat from the one in the final painting and looked much more similar to the woman in the Dance in the Country painting, said to have been modeled by Aline Charigot, Renoir's wife. The analysis of these changes made by Renoir would not be possible without technological advancements that allow art historians to better understand the context in which artists worked. It is interesting to note the apparent change in model, and Renoir's regret at changing the color of the jacket provide further evidence for the fact that Renoir did not spend a significant amount of time planning for this work.

Prompt: ブージヴァルのダンスのX線解析を説明してください。英語で出力して下さい。


section

ブージヴァルのダンス

Analysis has been done on the painting in recent years in an effort to understand how Renoir created this work and where he might have changed his mind along the way. This analysis has shown that the original depiction of the woman in the painting was much different from what Renoir finally settled upon. Notably, she wore a different hat from the one in the final painting and looked much more similar to the woman in the Dance in the Country painting, said to have been modeled by Aline Charigot, Renoir's wife. The analysis of these changes made by Renoir would not be possible without technological advancements that allow art historians to better understand the context in which artists worked. It is interesting to note the apparent change in model, and Renoir's regret at changing the color of the jacket provide further evidence for the fact that Renoir did not spend a significant amount of time planning for this work.

Prompt: ブージヴァルのダンスはどのようにX線解析を説明していますか？英語で出力して下さい。


section

ブージヴァルのダンス

Analysis has been done on the painting in recent years in an effort to understand how Renoir created this work and where he might have changed his mind along the way. This analysis has shown that the original depiction of the woman in the painting was much different from what Renoir finally settled upon. Notably, she wore a different hat from the one in the final painting and looked much more similar to the woman in the Dance in the Country painting, said to have been modeled by Aline Charigot, Renoir's wife. The analysis of these changes made by Renoir would not be possible without technological advancements that allow art historians to better understand the context in which artists worked. It is interesting to note the apparent change in model, and Renoir's regret at changing the color of the jacket provide further evidence for the fact that Renoir did not spend a significant amount of time planning for this work.

Prompt: ブージヴァルのダンスに関して、どのようにX線解析が議論されていますか？英語で出力して下さい。


section

ブージヴァルのダンス

List of paintings by Pierre-Auguste Renoir

Prompt: ブージヴァルのダンスに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ブージヴァルのダンス

List of paintings by Pierre-Auguste Renoir

Prompt: ブージヴァルのダンスの参照を説明してください。英語で出力して下さい。


section

ブージヴァルのダンス

List of paintings by Pierre-Auguste Renoir

Prompt: ブージヴァルのダンスはどのように参照を説明していますか？英語で出力して下さい。


section

ブージヴァルのダンス

List of paintings by Pierre-Auguste Renoir

Prompt: ブージヴァルのダンスに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

ディアーナ

The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529.

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


section

ディアーナ

The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529.

Prompt: ディアーナの抽象を説明してください。英語で出力して下さい。


section

ディアーナ

The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529.

Prompt: ディアーナはどのように抽象を説明していますか？英語で出力して下さい。


section

ディアーナ

The Diana of Gabii is a statue of a woman in drapery which probably represents the goddess Artemis and is traditionally attributed to the sculptor Praxiteles. It became part of the Borghese collection and is now conserved in the Louvre with the inventory number Ma 529.

Prompt: ディアーナに関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

ディアーナ

The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, not far from Rome It was immediately added to the prince's collections. In 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820.The statue became very popular in the 19th century; a plaster cast was placed in the Athenaeum Club, London, a marble copy was among the copies of ancient statues produced to decorate the Louvre's central court, and a cast iron replica decorated a fountain in the village of Grancey-le-Château-Neuvelle in the Côte-d'Or. In addition, replicas of reduced size in terracotta or porcelain were manufactured and sold for art enthusiasts.

Prompt: ディアーナに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Athen
Athenaeum Club, London
Côte-d'Or
Gabii
Grancey-le-Château-Neuvelle
Louvre
Napoleon
Rome


section

ディアーナ

The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, not far from Rome It was immediately added to the prince's collections. In 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820.The statue became very popular in the 19th century; a plaster cast was placed in the Athenaeum Club, London, a marble copy was among the copies of ancient statues produced to decorate the Louvre's central court, and a cast iron replica decorated a fountain in the village of Grancey-le-Château-Neuvelle in the Côte-d'Or. In addition, replicas of reduced size in terracotta or porcelain were manufactured and sold for art enthusiasts.

Prompt: ディアーナの歴史を説明してください。英語で出力して下さい。

Athen
Athenaeum Club, London
Côte-d'Or
Gabii
Grancey-le-Château-Neuvelle
Louvre
Napoleon
Rome


section

ディアーナ

The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, not far from Rome It was immediately added to the prince's collections. In 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820.The statue became very popular in the 19th century; a plaster cast was placed in the Athenaeum Club, London, a marble copy was among the copies of ancient statues produced to decorate the Louvre's central court, and a cast iron replica decorated a fountain in the village of Grancey-le-Château-Neuvelle in the Côte-d'Or. In addition, replicas of reduced size in terracotta or porcelain were manufactured and sold for art enthusiasts.

Prompt: ディアーナ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。

Athen
Athenaeum Club, London
Côte-d'Or
Gabii
Grancey-le-Château-Neuvelle
Louvre
Napoleon
Rome


section

ディアーナ

The statue was discovered in 1792 by Gavin Hamilton on the property of the Prince Borghese at Gabii, not far from Rome It was immediately added to the prince's collections. In 1807, suffering from financial difficulties, the Prince was forced to sell the statue to Napoleon and it was on display in the Louvre from 1820.The statue became very popular in the 19th century; a plaster cast was placed in the Athenaeum Club, London, a marble copy was among the copies of ancient statues produced to decorate the Louvre's central court, and a cast iron replica decorated a fountain in the village of Grancey-le-Château-Neuvelle in the Côte-d'Or. In addition, replicas of reduced size in terracotta or porcelain were manufactured and sold for art enthusiasts.

Prompt: ディアーナに関して、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。

Athen
Athenaeum Club, London
Côte-d'Or
Gabii
Grancey-le-Château-Neuvelle
Louvre
Napoleon
Rome


section

ディアーナ

leftThe statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the right leg, supported by a tree stump; the left leg is left free.  The left foot is thrown back and the heel slightly raised with the toes turned outward.The statue is generally identified as Artemis, virgin goddess of hunting and the wild, solely on account of her clothing. She wears what is effectively a short chiton with large sleeves, typical of the goddess. The chiton is bound by two belts: one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The goddess is represented in the process of pinning her cloak on: her right hand holds a fibula and lifts a fold of her clothing on her right shoulder while her left hand lifts another fold of cloth up to chest level. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed.The head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism. Her flowing hair is pulled back by a  band tied above her neck. This hair is gathered in a bun held by a second ribbon which is not visible.

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


section

ディアーナ

leftThe statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the right leg, supported by a tree stump; the left leg is left free.  The left foot is thrown back and the heel slightly raised with the toes turned outward.The statue is generally identified as Artemis, virgin goddess of hunting and the wild, solely on account of her clothing. She wears what is effectively a short chiton with large sleeves, typical of the goddess. The chiton is bound by two belts: one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The goddess is represented in the process of pinning her cloak on: her right hand holds a fibula and lifts a fold of her clothing on her right shoulder while her left hand lifts another fold of cloth up to chest level. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed.The head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism. Her flowing hair is pulled back by a  band tied above her neck. This hair is gathered in a bun held by a second ribbon which is not visible.

Prompt: ディアーナの説明を説明してください。英語で出力して下さい。


section

ディアーナ

leftThe statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the right leg, supported by a tree stump; the left leg is left free.  The left foot is thrown back and the heel slightly raised with the toes turned outward.The statue is generally identified as Artemis, virgin goddess of hunting and the wild, solely on account of her clothing. She wears what is effectively a short chiton with large sleeves, typical of the goddess. The chiton is bound by two belts: one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The goddess is represented in the process of pinning her cloak on: her right hand holds a fibula and lifts a fold of her clothing on her right shoulder while her left hand lifts another fold of cloth up to chest level. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed.The head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism. Her flowing hair is pulled back by a  band tied above her neck. This hair is gathered in a bun held by a second ribbon which is not visible.

Prompt: ディアーナはどのように説明を説明していますか？英語で出力して下さい。


section

ディアーナ

leftThe statue represents a young woman of more than life size, standing in drapery. The weight of the body rests on the right leg, supported by a tree stump; the left leg is left free.  The left foot is thrown back and the heel slightly raised with the toes turned outward.The statue is generally identified as Artemis, virgin goddess of hunting and the wild, solely on account of her clothing. She wears what is effectively a short chiton with large sleeves, typical of the goddess. The chiton is bound by two belts: one is visible around her waist, the other is hidden, allowing a portion of the fabric to be gathered, shortening the chiton and exposing the knees. The goddess is represented in the process of pinning her cloak on: her right hand holds a fibula and lifts a fold of her clothing on her right shoulder while her left hand lifts another fold of cloth up to chest level. The movement causes the collar of the chiton to fall, leaving the left shoulder exposed.The head is turned slightly to the right, but the goddess is not really focussed on what she is doing. Instead she looks out into space, as is common for statues of the Second classicism. Her flowing hair is pulled back by a  band tied above her neck. This hair is gathered in a bun held by a second ribbon which is not visible.

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


section

ディアーナ

According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis. Temple inventories dating from 347/6 BC mention among other things, a "dedicated statue," described as representing the goddess in a chitoniskos.  It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls.Praxiteles' statue has long been connected with the Diana of Gabii: the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are also attributed to Praxiteles. However, the identification has been questioned on several grounds. Firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron – it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the short chiton is anachronistic for the fourth century BC and instead suggests a Hellenistic date. Finally, a more recent hypothesis connects Praxiteles' statue of Artemis Brauronia with a head in the Museum of the Ancient Agora, known as the Despinis Head.Nevertheless, the Diana of Gabii is of strikingly high quality, and conforms closely to what is commonly considered to be the Praxitelian style, leading some scholars to maintain  that the statue is a work of Praxiteles or one of his sons.

Prompt: ディアーナに焦点を当てて、その帰属を説明してください。英語で出力して下さい。

Acropolis
Apollo Sauroctonos
Artemis
Athen
Brauron
Despinis Head
Gabii
Praxiteles


section

ディアーナ

According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis. Temple inventories dating from 347/6 BC mention among other things, a "dedicated statue," described as representing the goddess in a chitoniskos.  It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls.Praxiteles' statue has long been connected with the Diana of Gabii: the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are also attributed to Praxiteles. However, the identification has been questioned on several grounds. Firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron – it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the short chiton is anachronistic for the fourth century BC and instead suggests a Hellenistic date. Finally, a more recent hypothesis connects Praxiteles' statue of Artemis Brauronia with a head in the Museum of the Ancient Agora, known as the Despinis Head.Nevertheless, the Diana of Gabii is of strikingly high quality, and conforms closely to what is commonly considered to be the Praxitelian style, leading some scholars to maintain  that the statue is a work of Praxiteles or one of his sons.

Prompt: ディアーナの帰属を説明してください。英語で出力して下さい。

Acropolis
Apollo Sauroctonos
Artemis
Athen
Brauron
Despinis Head
Gabii
Praxiteles


section

ディアーナ

According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis. Temple inventories dating from 347/6 BC mention among other things, a "dedicated statue," described as representing the goddess in a chitoniskos.  It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls.Praxiteles' statue has long been connected with the Diana of Gabii: the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are also attributed to Praxiteles. However, the identification has been questioned on several grounds. Firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron – it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the short chiton is anachronistic for the fourth century BC and instead suggests a Hellenistic date. Finally, a more recent hypothesis connects Praxiteles' statue of Artemis Brauronia with a head in the Museum of the Ancient Agora, known as the Despinis Head.Nevertheless, the Diana of Gabii is of strikingly high quality, and conforms closely to what is commonly considered to be the Praxitelian style, leading some scholars to maintain  that the statue is a work of Praxiteles or one of his sons.

Prompt: ディアーナはどのように帰属を説明していますか？英語で出力して下さい。

Acropolis
Apollo Sauroctonos
Artemis
Athen
Brauron
Despinis Head
Gabii
Praxiteles


section

ディアーナ

According to Pausanias, Praxiteles created the statue of Artemis of Brauron for the Athenian Acropolis. Temple inventories dating from 347/6 BC mention among other things, a "dedicated statue," described as representing the goddess in a chitoniskos.  It is also known that the cult practiced for Artemis Brauronia included the consecration of garments offered by girls.Praxiteles' statue has long been connected with the Diana of Gabii: the goddess apparently in the act of putting on the gift of her followers. Furthermore the head resembles that of the Aphrodite of Cnidus and the Apollo Sauroctonos which are also attributed to Praxiteles. However, the identification has been questioned on several grounds. Firstly, the inventories discovered at Athens have been proven to be copies of those from the sanctuary at Brauron – it is not certain the cult in Athens also involved the dedication of cloaks. In addition, the short chiton is anachronistic for the fourth century BC and instead suggests a Hellenistic date. Finally, a more recent hypothesis connects Praxiteles' statue of Artemis Brauronia with a head in the Museum of the Ancient Agora, known as the Despinis Head.Nevertheless, the Diana of Gabii is of strikingly high quality, and conforms closely to what is commonly considered to be the Praxitelian style, leading some scholars to maintain  that the statue is a work of Praxiteles or one of his sons.

Prompt: ディアーナに関して、どのように帰属が議論されていますか？英語で出力して下さい。

Acropolis
Apollo Sauroctonos
Artemis
Athen
Brauron
Despinis Head
Gabii
Praxiteles


section

ディアーナ

Aileen Ajootian, « Praxiteles », Personal Styles in Greek Sculpture , Cambridge University Press, 1998  , pp. 124–126. Francis Haskell & Nicholas Penny, "Taste and the Antique. The Lure of Classical Sculpture, 1500–1900," Bibliothèque d'archéologie, 1981 , no 101, pp. 218–219. Jean-Luc Martinez, « Praxitèle après Praxitèle », in Praxitèle, catalogue of the Louvre exhibition, 23 March-18 June 2007, éditions du Louvre & Somogy, 2007 , no. 73, pp. 312–314. Brunilde Sismondo Ridgway, Fourth-Century Styles in Greek Sculpture, Madison, University of Wisconsin Press, 1997 , p. 329. Claude Rolley,  Sculpture grecque, vol. II :  période classique, Manuels d'art et d'archéologie antiques, Picard, 1999 , p. 262.

Prompt: ディアーナに焦点を当てて、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。

Claude Rolley
Jean-Luc Martinez
Louvre
Praxiteles


section

ディアーナ

Aileen Ajootian, « Praxiteles », Personal Styles in Greek Sculpture , Cambridge University Press, 1998  , pp. 124–126. Francis Haskell & Nicholas Penny, "Taste and the Antique. The Lure of Classical Sculpture, 1500–1900," Bibliothèque d'archéologie, 1981 , no 101, pp. 218–219. Jean-Luc Martinez, « Praxitèle après Praxitèle », in Praxitèle, catalogue of the Louvre exhibition, 23 March-18 June 2007, éditions du Louvre & Somogy, 2007 , no. 73, pp. 312–314. Brunilde Sismondo Ridgway, Fourth-Century Styles in Greek Sculpture, Madison, University of Wisconsin Press, 1997 , p. 329. Claude Rolley,  Sculpture grecque, vol. II :  période classique, Manuels d'art et d'archéologie antiques, Picard, 1999 , p. 262.

Prompt: ディアーナの参考文献を説明してください。英語で出力して下さい。

Claude Rolley
Jean-Luc Martinez
Louvre
Praxiteles


section

ディアーナ

Aileen Ajootian, « Praxiteles », Personal Styles in Greek Sculpture , Cambridge University Press, 1998  , pp. 124–126. Francis Haskell & Nicholas Penny, "Taste and the Antique. The Lure of Classical Sculpture, 1500–1900," Bibliothèque d'archéologie, 1981 , no 101, pp. 218–219. Jean-Luc Martinez, « Praxitèle après Praxitèle », in Praxitèle, catalogue of the Louvre exhibition, 23 March-18 June 2007, éditions du Louvre & Somogy, 2007 , no. 73, pp. 312–314. Brunilde Sismondo Ridgway, Fourth-Century Styles in Greek Sculpture, Madison, University of Wisconsin Press, 1997 , p. 329. Claude Rolley,  Sculpture grecque, vol. II :  période classique, Manuels d'art et d'archéologie antiques, Picard, 1999 , p. 262.

Prompt: ディアーナ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。

Claude Rolley
Jean-Luc Martinez
Louvre
Praxiteles


section

ディアーナ

Aileen Ajootian, « Praxiteles », Personal Styles in Greek Sculpture , Cambridge University Press, 1998  , pp. 124–126. Francis Haskell & Nicholas Penny, "Taste and the Antique. The Lure of Classical Sculpture, 1500–1900," Bibliothèque d'archéologie, 1981 , no 101, pp. 218–219. Jean-Luc Martinez, « Praxitèle après Praxitèle », in Praxitèle, catalogue of the Louvre exhibition, 23 March-18 June 2007, éditions du Louvre & Somogy, 2007 , no. 73, pp. 312–314. Brunilde Sismondo Ridgway, Fourth-Century Styles in Greek Sculpture, Madison, University of Wisconsin Press, 1997 , p. 329. Claude Rolley,  Sculpture grecque, vol. II :  période classique, Manuels d'art et d'archéologie antiques, Picard, 1999 , p. 262.

Prompt: ディアーナに関して、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。

Claude Rolley
Jean-Luc Martinez
Louvre
Praxiteles


section

すみれの花束をつけたベルト・モリゾ

completion_date =     medium = Oil on canvas movement = subject = Berthe Morisot height_metric = 55.5 width_metric = 40.5 length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    designation =  condition =  museum = Musée d'Orsay city = Paris accession = 100102 coordinates =         owner =  preceded_by =         followed_by =         website =            }}Berthe Morisot with a Bouquet of Violets  is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris.  Manet also created an etching and two lithographs of the same composition.

Prompt: すみれの花束をつけたベルト・モリゾに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Berthe Morisot
Musée d'Orsay
Paris
Édouard Manet


section

すみれの花束をつけたベルト・モリゾ

completion_date =     medium = Oil on canvas movement = subject = Berthe Morisot height_metric = 55.5 width_metric = 40.5 length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    designation =  condition =  museum = Musée d'Orsay city = Paris accession = 100102 coordinates =         owner =  preceded_by =         followed_by =         website =            }}Berthe Morisot with a Bouquet of Violets  is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris.  Manet also created an etching and two lithographs of the same composition.

Prompt: すみれの花束をつけたベルト・モリゾの抽象を説明してください。英語で出力して下さい。

Berthe Morisot
Musée d'Orsay
Paris
Édouard Manet


section

すみれの花束をつけたベルト・モリゾ

completion_date =     medium = Oil on canvas movement = subject = Berthe Morisot height_metric = 55.5 width_metric = 40.5 length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    designation =  condition =  museum = Musée d'Orsay city = Paris accession = 100102 coordinates =         owner =  preceded_by =         followed_by =         website =            }}Berthe Morisot with a Bouquet of Violets  is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris.  Manet also created an etching and two lithographs of the same composition.

Prompt: すみれの花束をつけたベルト・モリゾ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。

Berthe Morisot
Musée d'Orsay
Paris
Édouard Manet


section

すみれの花束をつけたベルト・モリゾ

completion_date =     medium = Oil on canvas movement = subject = Berthe Morisot height_metric = 55.5 width_metric = 40.5 length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    designation =  condition =  museum = Musée d'Orsay city = Paris accession = 100102 coordinates =         owner =  preceded_by =         followed_by =         website =            }}Berthe Morisot with a Bouquet of Violets  is an 1872 oil painting by Édouard Manet. It depicts fellow painter Berthe Morisot dressed in black mourning dress, with a barely visible bouquet of violets. The painting, sometimes known as Portrait of Berthe Morisot, Berthe Morisot in a black hat or Young woman in a black hat, is in the collection of the Musée d'Orsay in Paris.  Manet also created an etching and two lithographs of the same composition.

Prompt: すみれの花束をつけたベルト・モリゾに関して、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。

Berthe Morisot
Musée d'Orsay
Paris
Édouard Manet


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

Manet became acquainted with Berthe Morisot in 1868.  She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work.  He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874.Manet had remained in Paris during the Franco-Prussian War in 1870–71, and served in the Garde Nationale to defend the city in the Siege of Paris.  He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871. He returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871.This painting was one of several portraits of a black-clad Morisot by Manet between 1872 and 1874: others show her with a pink shoe, with a fan, and veiled.

Prompt: すみれの花束をつけたベルト・モリゾに焦点を当てて、その背景を説明してください。英語で出力して下さい。

Berthe Morisot
Franco-Prussian War
Paris
Paris Commune


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

Manet became acquainted with Berthe Morisot in 1868.  She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work.  He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874.Manet had remained in Paris during the Franco-Prussian War in 1870–71, and served in the Garde Nationale to defend the city in the Siege of Paris.  He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871. He returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871.This painting was one of several portraits of a black-clad Morisot by Manet between 1872 and 1874: others show her with a pink shoe, with a fan, and veiled.

Prompt: すみれの花束をつけたベルト・モリゾの背景を説明してください。英語で出力して下さい。

Berthe Morisot
Franco-Prussian War
Paris
Paris Commune


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

Manet became acquainted with Berthe Morisot in 1868.  She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work.  He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874.Manet had remained in Paris during the Franco-Prussian War in 1870–71, and served in the Garde Nationale to defend the city in the Siege of Paris.  He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871. He returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871.This painting was one of several portraits of a black-clad Morisot by Manet between 1872 and 1874: others show her with a pink shoe, with a fan, and veiled.

Prompt: すみれの花束をつけたベルト・モリゾはどのように背景を説明していますか？英語で出力して下さい。

Berthe Morisot
Franco-Prussian War
Paris
Paris Commune


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

Manet became acquainted with Berthe Morisot in 1868.  She was the grand-niece of Fragonard, and also a painter; Morisot and Manet influenced each other's work.  He painted her portrait many times, including his earlier work The Balcony. She married Manet's brother Eugène in 1874.Manet had remained in Paris during the Franco-Prussian War in 1870–71, and served in the Garde Nationale to defend the city in the Siege of Paris.  He was unable to paint while he was serving, and left Paris after the city surrendered at the end of January 1871. He returned to painting later in 1871, and returned to Paris after the defeat of the Paris Commune in May 1871.This painting was one of several portraits of a black-clad Morisot by Manet between 1872 and 1874: others show her with a pink shoe, with a fan, and veiled.

Prompt: すみれの花束をつけたベルト・モリゾに関して、どのように背景が議論されていますか？英語で出力して下さい。

Berthe Morisot
Franco-Prussian War
Paris
Paris Commune


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

The half-length portrait is on a canvas measuring  –  with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear.  The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866.Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874.  Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

Prompt: すみれの花束をつけたベルト・モリゾに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

The half-length portrait is on a canvas measuring  –  with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear.  The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866.Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874.  Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

Prompt: すみれの花束をつけたベルト・モリゾの説明を説明してください。英語で出力して下さい。


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

The half-length portrait is on a canvas measuring  –  with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear.  The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866.Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874.  Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

Prompt: すみれの花束をつけたベルト・モリゾ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

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

The half-length portrait is on a canvas measuring  –  with frame – and is signed "Manet 72" in the upper right corner. It is a study in shades of black. Unusually for Manet's portraits, which typically have an even light, Morisot is lit from one side, so that she is brightly illuminated on her right side and the left is in deep shadow. She wears black mourning dress and hat, with her face surrounded by black ribbons and scarves, against a lighter background, and an earring in each ear.  The violet flowers are barely perceptible where the neckline of Morisot's dress dips towards her chest. Manet also painted violets in his Woman with a Parrot of 1866.Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.The painting was followed by a similar etching – probably the first copy, with the pose reversed – and two lithographs, all made in 1872 to 1874.  Manet made a similar painting of Morisot in mourning dress in 1874, after the death of her father, Edmé Tiburce Morisot.

Prompt: すみれの花束をつけたベルト・モリゾに関して、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

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

The work was quickly considered a masterpiece of Manet's work.  It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth.  Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart.  Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872".Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son  Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

Prompt: すみれの花束をつけたベルト・モリゾに焦点を当てて、その受付を説明してください。英語で出力して下さい。

Berthe Morisot
China Times
Ernest Rouart
Girl with a Pearl Earring
Julie Manet
Musée d'Orsay
Paul Valéry
Théodore Duret


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

The work was quickly considered a masterpiece of Manet's work.  It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth.  Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart.  Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872".Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son  Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

Prompt: すみれの花束をつけたベルト・モリゾの受付を説明してください。英語で出力して下さい。

Berthe Morisot
China Times
Ernest Rouart
Girl with a Pearl Earring
Julie Manet
Musée d'Orsay
Paul Valéry
Théodore Duret


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

The work was quickly considered a masterpiece of Manet's work.  It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth.  Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart.  Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872".Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son  Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

Prompt: すみれの花束をつけたベルト・モリゾはどのように受付を説明していますか？英語で出力して下さい。

Berthe Morisot
China Times
Ernest Rouart
Girl with a Pearl Earring
Julie Manet
Musée d'Orsay
Paul Valéry
Théodore Duret


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

The work was quickly considered a masterpiece of Manet's work.  It was praised by Paul Valéry in the catalogue of Manet's retrospective at the Orangerie in 1932 for the centenary of his birth.  Valéry knew the painting well: he was married to Morisot's niece, Jeannie Gobillard, the daughter of Morisot's sister Yves and her husband Theodore Gobillard, and so he also related by marriage to Manet; indeed, his wedding in 1900 was a double celebration at the same time as the marriage of Morisot's daughter Julie Manet to Ernest Rouart.  Valéry compared Manet's painting to Vermeer's Girl with a Pearl Earring: "I do not rank anything in Manet's work higher than a certain portrait of Berthe Morisot dated 1872".Manet sold or gave the painting to collector and art critic Théodore Duret. Morisot herself acquired the painting in 1894, paying 5,100 francs in the sale of Duret's collection. After her death in 1895, it was kept by her daughter Julie until her own death in 1966, and then it was in the collection of her son  Clément Rouart. It was acquired for the Musée d'Orsay in 1998, with funding from the Fonds du Patrimoine, the Meyer Foundation, the China Times Group and a sponsorship programme coordinated by the Japanese The Nikkei newspaper.

Prompt: すみれの花束をつけたベルト・モリゾに関して、どのように受付が議論されていますか？英語で出力して下さい。

Berthe Morisot
China Times
Ernest Rouart
Girl with a Pearl Earring
Julie Manet
Musée d'Orsay
Paul Valéry
Théodore Duret


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

List of paintings by Édouard Manet 1872 in art

Prompt: すみれの花束をつけたベルト・モリゾに焦点を当てて、その参照を説明してください。英語で出力して下さい。

1872 in art
List of paintings by Édouard Manet
Édouard Manet


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

List of paintings by Édouard Manet 1872 in art

Prompt: すみれの花束をつけたベルト・モリゾの参照を説明してください。英語で出力して下さい。

1872 in art
List of paintings by Édouard Manet
Édouard Manet


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

List of paintings by Édouard Manet 1872 in art

Prompt: すみれの花束をつけたベルト・モリゾ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。

1872 in art
List of paintings by Édouard Manet
Édouard Manet


section

すみれの花束をつけたベルト・モリゾ

Berthe Morisot with a Bouquet of Violets

List of paintings by Édouard Manet 1872 in art

Prompt: すみれの花束をつけたベルト・モリゾに関して、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。

1872 in art
List of paintings by Édouard Manet
Édouard Manet


section

ウィキペディアモニュメント

type               = Sculpture material           =  subject            = Wikipedia community height_metric      = 250 width_metric       = 60 length_metric      = 60 height_imperial    = width_imperial     = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = dimensions_ref     = metric_unit        = cm imperial_unit      = in city               = Słubice, Poland museum             = accession          = coordinates        =  mapframe           = yes mapframe-zoom      = 13 owner              = Słubice regional authorities url                = }}The Wikipedia Monument , located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square  on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.

Prompt: ウィキペディアモニュメントに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Mihran Hakobyan
Poland
Słubice
Wikimedia Foundation
Wikipedia


section

ウィキペディアモニュメント

type               = Sculpture material           =  subject            = Wikipedia community height_metric      = 250 width_metric       = 60 length_metric      = 60 height_imperial    = width_imperial     = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = dimensions_ref     = metric_unit        = cm imperial_unit      = in city               = Słubice, Poland museum             = accession          = coordinates        =  mapframe           = yes mapframe-zoom      = 13 owner              = Słubice regional authorities url                = }}The Wikipedia Monument , located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square  on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.

Prompt: ウィキペディアモニュメントの抽象を説明してください。英語で出力して下さい。

Mihran Hakobyan
Poland
Słubice
Wikimedia Foundation
Wikipedia


section

ウィキペディアモニュメント

type               = Sculpture material           =  subject            = Wikipedia community height_metric      = 250 width_metric       = 60 length_metric      = 60 height_imperial    = width_imperial     = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = dimensions_ref     = metric_unit        = cm imperial_unit      = in city               = Słubice, Poland museum             = accession          = coordinates        =  mapframe           = yes mapframe-zoom      = 13 owner              = Słubice regional authorities url                = }}The Wikipedia Monument , located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square  on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.

Prompt: ウィキペディアモニュメントはどのように抽象を説明していますか？英語で出力して下さい。

Mihran Hakobyan
Poland
Słubice
Wikimedia Foundation
Wikipedia


section

ウィキペディアモニュメント

type               = Sculpture material           =  subject            = Wikipedia community height_metric      = 250 width_metric       = 60 length_metric      = 60 height_imperial    = width_imperial     = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = dimensions_ref     = metric_unit        = cm imperial_unit      = in city               = Słubice, Poland museum             = accession          = coordinates        =  mapframe           = yes mapframe-zoom      = 13 owner              = Słubice regional authorities url                = }}The Wikipedia Monument , located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square  on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.

Prompt: ウィキペディアモニュメントに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Mihran Hakobyan
Poland
Słubice
Wikimedia Foundation
Wikipedia


section

ウィキペディアモニュメント

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, It cost about 50,000 złotys  and was funded by Słubice regional authorities.</blockquote>

Prompt: ウィキペディアモニュメントに焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

ウィキペディアモニュメント

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, It cost about 50,000 złotys  and was funded by Słubice regional authorities.</blockquote>

Prompt: ウィキペディアモニュメントの説明を説明してください。英語で出力して下さい。


section

ウィキペディアモニュメント

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, It cost about 50,000 złotys  and was funded by Słubice regional authorities.</blockquote>

Prompt: ウィキペディアモニュメントはどのように説明を説明していますか？英語で出力して下さい。


section

ウィキペディアモニュメント

The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, It cost about 50,000 złotys  and was funded by Słubice regional authorities.</blockquote>

Prompt: ウィキペディアモニュメントに関して、どのように説明が議論されていますか？英語で出力して下さい。


section

ウィキペディアモニュメント

The monument was suggested around 2010 Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". becoming the world's first monument to the online encyclopedia. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address. we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.Jimmy Wales, the co-founder of Wikipedia, on the occasion of the unveiling}}

Prompt: ウィキペディアモニュメントに焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Common Knowledge?
Dariusz Jemielniak
Poland
Polish Wikipedia
Słubice
Wiki Loves Monuments
Wikipedia


section

ウィキペディアモニュメント

The monument was suggested around 2010 Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". becoming the world's first monument to the online encyclopedia. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address. we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.Jimmy Wales, the co-founder of Wikipedia, on the occasion of the unveiling}}

Prompt: ウィキペディアモニュメントの歴史を説明してください。英語で出力して下さい。

Common Knowledge?
Dariusz Jemielniak
Poland
Polish Wikipedia
Słubice
Wiki Loves Monuments
Wikipedia


section

ウィキペディアモニュメント

The monument was suggested around 2010 Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". becoming the world's first monument to the online encyclopedia. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address. we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.Jimmy Wales, the co-founder of Wikipedia, on the occasion of the unveiling}}

Prompt: ウィキペディアモニュメントはどのように歴史を説明していますか？英語で出力して下さい。

Common Knowledge?
Dariusz Jemielniak
Poland
Polish Wikipedia
Słubice
Wiki Loves Monuments
Wikipedia


section

ウィキペディアモニュメント

The monument was suggested around 2010 Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial "will highlight the town's importance as an academic centre". becoming the world's first monument to the online encyclopedia. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address. we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.Jimmy Wales, the co-founder of Wikipedia, on the occasion of the unveiling}}

Prompt: ウィキペディアモニュメントに関して、どのように歴史が議論されていますか？英語で出力して下さい。

Common Knowledge?
Dariusz Jemielniak
Poland
Polish Wikipedia
Słubice
Wiki Loves Monuments
Wikipedia


section

人間の堕落のあるエデンの園

medium             = Oil on panel height_metric      = 74.3  width_metric       = 114.7 height_imperial    = width_imperial     = metric_unit        = cm imperial_unit      = in city               = The Hague museum             = Mauritshuis}}The Garden of Eden with the Fall of Man or The Earthly Paradise with the Fall of Adam and Eve  is a painting by Peter Paul Rubens  and Jan Brueghel the Elder . It is housed in the Mauritshuis art museum in The Hague, Netherlands. The painting depicts the moment just before the consumption of forbidden fruit and the fall of man.Adam and Eve are depicted beneath the tree of the knowledge of good and evil, where various fruits grow. On the opposite side the tree of life is depicted, also laden with fruits.The scene is a reference to Genesis 2:8–14 and hosts a variety of animals, presumably 100, from diverse ecosystems. There is a Capuchin Monkey from South America, hidden to the left, who bites into an apple to symbolize the sin about to be committed by Adam and Eve. Since Adam has yet to commit the original sin, these creatures all live in harmony – a cow peacefully watches while two large cats play. Birds of Paradise are also painted with a scientific accuracy. Up until the time of this painting, these birds were believed to lack feet, and in this painting, they are depicted clearly. This was a modernistic move on Bruegel's behalf. The  monkey next to Adam is the hotspur who cannot resist temptation, while the choleric cat near Eve's heels represents cruel cunning. In Christian symbolism, several grapes in the foliage behind Adam and Eve represent Christ's death on the cross, as wine represents his blood. A plethora of exotic birds such as peacocks and macaws spectate Adam's detrimental demise.

Prompt: 人間の堕落のあるエデンの園に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Adam
Adam and Eve
Christian symbolism
Eve
Garden of Eden
Jan Brueghel the Elder
Mauritshuis
Netherlands
Peter Paul Rubens
The Hague


section

人間の堕落のあるエデンの園

medium             = Oil on panel height_metric      = 74.3  width_metric       = 114.7 height_imperial    = width_imperial     = metric_unit        = cm imperial_unit      = in city               = The Hague museum             = Mauritshuis}}The Garden of Eden with the Fall of Man or The Earthly Paradise with the Fall of Adam and Eve  is a painting by Peter Paul Rubens  and Jan Brueghel the Elder . It is housed in the Mauritshuis art museum in The Hague, Netherlands. The painting depicts the moment just before the consumption of forbidden fruit and the fall of man.Adam and Eve are depicted beneath the tree of the knowledge of good and evil, where various fruits grow. On the opposite side the tree of life is depicted, also laden with fruits.The scene is a reference to Genesis 2:8–14 and hosts a variety of animals, presumably 100, from diverse ecosystems. There is a Capuchin Monkey from South America, hidden to the left, who bites into an apple to symbolize the sin about to be committed by Adam and Eve. Since Adam has yet to commit the original sin, these creatures all live in harmony – a cow peacefully watches while two large cats play. Birds of Paradise are also painted with a scientific accuracy. Up until the time of this painting, these birds were believed to lack feet, and in this painting, they are depicted clearly. This was a modernistic move on Bruegel's behalf. The  monkey next to Adam is the hotspur who cannot resist temptation, while the choleric cat near Eve's heels represents cruel cunning. In Christian symbolism, several grapes in the foliage behind Adam and Eve represent Christ's death on the cross, as wine represents his blood. A plethora of exotic birds such as peacocks and macaws spectate Adam's detrimental demise.

Prompt: 人間の堕落のあるエデンの園の抽象を説明してください。英語で出力して下さい。

Adam
Adam and Eve
Christian symbolism
Eve
Garden of Eden
Jan Brueghel the Elder
Mauritshuis
Netherlands
Peter Paul Rubens
The Hague


section

人間の堕落のあるエデンの園

medium             = Oil on panel height_metric      = 74.3  width_metric       = 114.7 height_imperial    = width_imperial     = metric_unit        = cm imperial_unit      = in city               = The Hague museum             = Mauritshuis}}The Garden of Eden with the Fall of Man or The Earthly Paradise with the Fall of Adam and Eve  is a painting by Peter Paul Rubens  and Jan Brueghel the Elder . It is housed in the Mauritshuis art museum in The Hague, Netherlands. The painting depicts the moment just before the consumption of forbidden fruit and the fall of man.Adam and Eve are depicted beneath the tree of the knowledge of good and evil, where various fruits grow. On the opposite side the tree of life is depicted, also laden with fruits.The scene is a reference to Genesis 2:8–14 and hosts a variety of animals, presumably 100, from diverse ecosystems. There is a Capuchin Monkey from South America, hidden to the left, who bites into an apple to symbolize the sin about to be committed by Adam and Eve. Since Adam has yet to commit the original sin, these creatures all live in harmony – a cow peacefully watches while two large cats play. Birds of Paradise are also painted with a scientific accuracy. Up until the time of this painting, these birds were believed to lack feet, and in this painting, they are depicted clearly. This was a modernistic move on Bruegel's behalf. The  monkey next to Adam is the hotspur who cannot resist temptation, while the choleric cat near Eve's heels represents cruel cunning. In Christian symbolism, several grapes in the foliage behind Adam and Eve represent Christ's death on the cross, as wine represents his blood. A plethora of exotic birds such as peacocks and macaws spectate Adam's detrimental demise.

Prompt: 人間の堕落のあるエデンの園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。

Adam
Adam and Eve
Christian symbolism
Eve
Garden of Eden
Jan Brueghel the Elder
Mauritshuis
Netherlands
Peter Paul Rubens
The Hague


section

人間の堕落のあるエデンの園

medium             = Oil on panel height_metric      = 74.3  width_metric       = 114.7 height_imperial    = width_imperial     = metric_unit        = cm imperial_unit      = in city               = The Hague museum             = Mauritshuis}}The Garden of Eden with the Fall of Man or The Earthly Paradise with the Fall of Adam and Eve  is a painting by Peter Paul Rubens  and Jan Brueghel the Elder . It is housed in the Mauritshuis art museum in The Hague, Netherlands. The painting depicts the moment just before the consumption of forbidden fruit and the fall of man.Adam and Eve are depicted beneath the tree of the knowledge of good and evil, where various fruits grow. On the opposite side the tree of life is depicted, also laden with fruits.The scene is a reference to Genesis 2:8–14 and hosts a variety of animals, presumably 100, from diverse ecosystems. There is a Capuchin Monkey from South America, hidden to the left, who bites into an apple to symbolize the sin about to be committed by Adam and Eve. Since Adam has yet to commit the original sin, these creatures all live in harmony – a cow peacefully watches while two large cats play. Birds of Paradise are also painted with a scientific accuracy. Up until the time of this painting, these birds were believed to lack feet, and in this painting, they are depicted clearly. This was a modernistic move on Bruegel's behalf. The  monkey next to Adam is the hotspur who cannot resist temptation, while the choleric cat near Eve's heels represents cruel cunning. In Christian symbolism, several grapes in the foliage behind Adam and Eve represent Christ's death on the cross, as wine represents his blood. A plethora of exotic birds such as peacocks and macaws spectate Adam's detrimental demise.

Prompt: 人間の堕落のあるエデンの園に関して、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。

Adam
Adam and Eve
Christian symbolism
Eve
Garden of Eden
Jan Brueghel the Elder
Mauritshuis
Netherlands
Peter Paul Rubens
The Hague


section

人間の堕落のあるエデンの園

Several attempts were made at this painting to showcase the best work of each artist. Rubens started the painting, sketching Adam and Eve in thin paint, followed by the tree and serpent. The details were then meticulously painted by Brueghel. The pair were known not only as collaborators, but also as the best of friends, so much so that Rubens was godfather to Brueghel's children. The two artists were leading painters in the first three decades of the 17th century. Rubens was known for his depiction of supple human bodies, while Bruegel was known for his animals, flora, and fauna. This painting serves as a primary example of the nickname "Velvet Brueghel" given to Jan Brueghel the Elder for his delicate brushwork.

Prompt: 人間の堕落のあるエデンの園に焦点を当てて、そのアーティストを説明してください。英語で出力して下さい。

Adam
Adam and Eve
Eve
Jan Brueghel the Elder


section

人間の堕落のあるエデンの園

Several attempts were made at this painting to showcase the best work of each artist. Rubens started the painting, sketching Adam and Eve in thin paint, followed by the tree and serpent. The details were then meticulously painted by Brueghel. The pair were known not only as collaborators, but also as the best of friends, so much so that Rubens was godfather to Brueghel's children. The two artists were leading painters in the first three decades of the 17th century. Rubens was known for his depiction of supple human bodies, while Bruegel was known for his animals, flora, and fauna. This painting serves as a primary example of the nickname "Velvet Brueghel" given to Jan Brueghel the Elder for his delicate brushwork.

Prompt: 人間の堕落のあるエデンの園のアーティストを説明してください。英語で出力して下さい。

Adam
Adam and Eve
Eve
Jan Brueghel the Elder


section

人間の堕落のあるエデンの園

Several attempts were made at this painting to showcase the best work of each artist. Rubens started the painting, sketching Adam and Eve in thin paint, followed by the tree and serpent. The details were then meticulously painted by Brueghel. The pair were known not only as collaborators, but also as the best of friends, so much so that Rubens was godfather to Brueghel's children. The two artists were leading painters in the first three decades of the 17th century. Rubens was known for his depiction of supple human bodies, while Bruegel was known for his animals, flora, and fauna. This painting serves as a primary example of the nickname "Velvet Brueghel" given to Jan Brueghel the Elder for his delicate brushwork.

Prompt: 人間の堕落のあるエデンの園はどのようにアーティストを説明していますか？英語で出力して下さい。

Adam
Adam and Eve
Eve
Jan Brueghel the Elder


section

人間の堕落のあるエデンの園

Several attempts were made at this painting to showcase the best work of each artist. Rubens started the painting, sketching Adam and Eve in thin paint, followed by the tree and serpent. The details were then meticulously painted by Brueghel. The pair were known not only as collaborators, but also as the best of friends, so much so that Rubens was godfather to Brueghel's children. The two artists were leading painters in the first three decades of the 17th century. Rubens was known for his depiction of supple human bodies, while Bruegel was known for his animals, flora, and fauna. This painting serves as a primary example of the nickname "Velvet Brueghel" given to Jan Brueghel the Elder for his delicate brushwork.

Prompt: 人間の堕落のあるエデンの園に関して、どのようにアーティストが議論されていますか？英語で出力して下さい。

Adam
Adam and Eve
Eve
Jan Brueghel the Elder


section

人間の堕落のあるエデンの園

From 1766, the painting was in the collection of Pieter de la Court van der Voort of Leiden. Then it was in the possession of Willem V van Oranje-Nassau and in 1816 it was placed in the collection of the Royal Picture Gallery Mauritshuis in The Hague.

Prompt: 人間の堕落のあるエデンの園に焦点を当てて、その起源を説明してください。英語で出力して下さい。


section

人間の堕落のあるエデンの園

From 1766, the painting was in the collection of Pieter de la Court van der Voort of Leiden. Then it was in the possession of Willem V van Oranje-Nassau and in 1816 it was placed in the collection of the Royal Picture Gallery Mauritshuis in The Hague.

Prompt: 人間の堕落のあるエデンの園の起源を説明してください。英語で出力して下さい。


section

人間の堕落のあるエデンの園

From 1766, the painting was in the collection of Pieter de la Court van der Voort of Leiden. Then it was in the possession of Willem V van Oranje-Nassau and in 1816 it was placed in the collection of the Royal Picture Gallery Mauritshuis in The Hague.

Prompt: 人間の堕落のあるエデンの園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

人間の堕落のあるエデンの園

From 1766, the painting was in the collection of Pieter de la Court van der Voort of Leiden. Then it was in the possession of Willem V van Oranje-Nassau and in 1816 it was placed in the collection of the Royal Picture Gallery Mauritshuis in The Hague.

Prompt: 人間の堕落のあるエデンの園に関して、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

マルスから平和を守るミネルヴァ

--> catalogue          =  medium             = Oil on canvas movement           =  subject            =  height_metric      = 203.5 width_metric       = 298 dimensions         =  dimensions_ref     =  metric_unit        = cm designation        =  condition          =  museum             = National Gallery city               = London}}Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England. It is now in the National Gallery, London.It shows Minerva  fighting off Mars, with the nude figure of the goddess Pax  in the centre.

Prompt: マルスから平和を守るミネルヴァに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Charles I of England
London
Minerva
National Gallery
Peter Paul Rubens
Spanish Netherlands


section

マルスから平和を守るミネルヴァ

--> catalogue          =  medium             = Oil on canvas movement           =  subject            =  height_metric      = 203.5 width_metric       = 298 dimensions         =  dimensions_ref     =  metric_unit        = cm designation        =  condition          =  museum             = National Gallery city               = London}}Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England. It is now in the National Gallery, London.It shows Minerva  fighting off Mars, with the nude figure of the goddess Pax  in the centre.

Prompt: マルスから平和を守るミネルヴァの抽象を説明してください。英語で出力して下さい。

Charles I of England
London
Minerva
National Gallery
Peter Paul Rubens
Spanish Netherlands


section

マルスから平和を守るミネルヴァ

--> catalogue          =  medium             = Oil on canvas movement           =  subject            =  height_metric      = 203.5 width_metric       = 298 dimensions         =  dimensions_ref     =  metric_unit        = cm designation        =  condition          =  museum             = National Gallery city               = London}}Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England. It is now in the National Gallery, London.It shows Minerva  fighting off Mars, with the nude figure of the goddess Pax  in the centre.

Prompt: マルスから平和を守るミネルヴァ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。

Charles I of England
London
Minerva
National Gallery
Peter Paul Rubens
Spanish Netherlands


section

マルスから平和を守るミネルヴァ

--> catalogue          =  medium             = Oil on canvas movement           =  subject            =  height_metric      = 203.5 width_metric       = 298 dimensions         =  dimensions_ref     =  metric_unit        = cm designation        =  condition          =  museum             = National Gallery city               = London}}Minerva protecting Peace from Mars or Peace and War is a painting by Peter Paul Rubens. He produced it in London between 1629 and 1630, during a diplomatic mission from the Spanish Netherlands to Charles I of England. It is now in the National Gallery, London.It shows Minerva  fighting off Mars, with the nude figure of the goddess Pax  in the centre.

Prompt: マルスから平和を守るミネルヴァに関して、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。

Charles I of England
London
Minerva
National Gallery
Peter Paul Rubens
Spanish Netherlands


section

マルスから平和を守るミネルヴァ

Category:1630 paintingsCategory:Paintings by Peter Paul Rubens in the National Gallery, LondonCategory:Paintings of Mars Category:Paintings of MinervaCategory:Cats in artCategory:Paintings of childrenCategory:Musical instruments in artCategory:Women in artCategory:Nude artCategory:Mythological paintings by Peter Paul Rubens

Prompt: マルスから平和を守るミネルヴァに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。

London
Minerva
National Gallery
Peter Paul Rubens


section

マルスから平和を守るミネルヴァ

Category:1630 paintingsCategory:Paintings by Peter Paul Rubens in the National Gallery, LondonCategory:Paintings of Mars Category:Paintings of MinervaCategory:Cats in artCategory:Paintings of childrenCategory:Musical instruments in artCategory:Women in artCategory:Nude artCategory:Mythological paintings by Peter Paul Rubens

Prompt: マルスから平和を守るミネルヴァの外部リンクを説明してください。英語で出力して下さい。

London
Minerva
National Gallery
Peter Paul Rubens


section

マルスから平和を守るミネルヴァ

Category:1630 paintingsCategory:Paintings by Peter Paul Rubens in the National Gallery, LondonCategory:Paintings of Mars Category:Paintings of MinervaCategory:Cats in artCategory:Paintings of childrenCategory:Musical instruments in artCategory:Women in artCategory:Nude artCategory:Mythological paintings by Peter Paul Rubens

Prompt: マルスから平和を守るミネルヴァはどのように外部リンクを説明していますか？英語で出力して下さい。

London
Minerva
National Gallery
Peter Paul Rubens


section

マルスから平和を守るミネルヴァ

Category:1630 paintingsCategory:Paintings by Peter Paul Rubens in the National Gallery, LondonCategory:Paintings of Mars Category:Paintings of MinervaCategory:Cats in artCategory:Paintings of childrenCategory:Musical instruments in artCategory:Women in artCategory:Nude artCategory:Mythological paintings by Peter Paul Rubens

Prompt: マルスから平和を守るミネルヴァに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。

London
Minerva
National Gallery
Peter Paul Rubens


section

黒の正方形

Black Square  is a 1915 oil on linen canvas painting by the artist Kazimir Malevich  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement .A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works.The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White , Black Circle , and Black Cross . Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The st Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.

Prompt: 黒の正方形に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Black Circle
Kazimir Malevich
Russian avant-garde
Ukraine
White on White


section

黒の正方形

Black Square  is a 1915 oil on linen canvas painting by the artist Kazimir Malevich  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement .A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works.The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White , Black Circle , and Black Cross . Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The st Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.

Prompt: 黒の正方形の抽象を説明してください。英語で出力して下さい。

Black Circle
Kazimir Malevich
Russian avant-garde
Ukraine
White on White


section

黒の正方形

Black Square  is a 1915 oil on linen canvas painting by the artist Kazimir Malevich  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement .A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works.The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White , Black Circle , and Black Cross . Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The st Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.

Prompt: 黒の正方形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。

Black Circle
Kazimir Malevich
Russian avant-garde
Ukraine
White on White


section

黒の正方形

Black Square  is a 1915 oil on linen canvas painting by the artist Kazimir Malevich  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement .A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works.The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White , Black Circle , and Black Cross . Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The st Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.

Prompt: 黒の正方形に関して、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。

Black Circle
Kazimir Malevich
Russian avant-garde
Ukraine
White on White


section

黒の正方形

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain "suggests the sun's coffin", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Prompt: 黒の正方形に焦点を当てて、その概念を説明してください。英語で出力して下さい。

Frances Spalding
Impressionism
Kazimir Malevich
Kyiv
Mikhail Matyushin
Moscow
Saint Petersburg
Tsar
Victory over the Sun


section

黒の正方形

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain "suggests the sun's coffin", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Prompt: 黒の正方形の概念を説明してください。英語で出力して下さい。

Frances Spalding
Impressionism
Kazimir Malevich
Kyiv
Mikhail Matyushin
Moscow
Saint Petersburg
Tsar
Victory over the Sun


section

黒の正方形

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain "suggests the sun's coffin", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Prompt: 黒の正方形はどのように概念を説明していますか？英語で出力して下さい。

Frances Spalding
Impressionism
Kazimir Malevich
Kyiv
Mikhail Matyushin
Moscow
Saint Petersburg
Tsar
Victory over the Sun


section

黒の正方形

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain "suggests the sun's coffin", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."

Prompt: 黒の正方形に関して、どのように概念が議論されていますか？英語で出力して下さい。

Frances Spalding
Impressionism
Kazimir Malevich
Kyiv
Mikhail Matyushin
Moscow
Saint Petersburg
Tsar
Victory over the Sun


section

黒の正方形

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Prompt: 黒の正方形に焦点を当てて、その作曲を説明してください。英語で出力して下さい。

Abstract art
Modernism
Saint Petersburg
Tate
Tate Modern
Victory over the Sun


section

黒の正方形

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Prompt: 黒の正方形の作曲を説明してください。英語で出力して下さい。

Abstract art
Modernism
Saint Petersburg
Tate
Tate Modern
Victory over the Sun


section

黒の正方形

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Prompt: 黒の正方形はどのように作曲を説明していますか？英語で出力して下さい。

Abstract art
Modernism
Saint Petersburg
Tate
Tate Modern
Victory over the Sun


section

黒の正方形

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.

Prompt: 黒の正方形に関して、どのように作曲が議論されていますか？英語で出力して下さい。

Abstract art
Modernism
Saint Petersburg
Tate
Tate Modern
Victory over the Sun


section

黒の正方形

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus , which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis  and representational art.

Prompt: 黒の正方形に焦点を当てて、その解釈を説明してください。英語で出力して下さい。


section

黒の正方形

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus , which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis  and representational art.

Prompt: 黒の正方形の解釈を説明してください。英語で出力して下さい。


section

黒の正方形

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus , which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis  and representational art.

Prompt: 黒の正方形はどのように解釈を説明していますか？英語で出力して下さい。